Foot-Power  Loom  Weaving 


FOOT -POWER  LOOM  WEAVING 


EDWARD  F.  WORST 

ii 

Supervisor  of  Elementary  Manual  Training  and 
Construction  Work,  Chicago,  111. 


Second  Edition  —  Enlarged 

rHE  BRUCE  PUBLISHING  COMPANY 
MILWAUKEE,  WIS. 


TS 


Copyright,  1918,  1920 

by 
Edward  F.  Worst 


fff 


INTRODUCTION 


HE  suggestions  offered  in  this  manual  are  for  those  who  believe  that  the  more  advanced  weav- 
ing should  be  pursued  as  a  most  wholesome  occupation  and  that  it  should  again,  in  the  near 
future,  find  a  place  not  only  in  the  school  but  also  in  the  home.  Few  lines  of  occupation 
furnish  more  excellent  opportunity  for  color  combination  and  design  than  does  the  craft  of 
weaving. 

Girls  taking  the  various  household-arts  courses  will  find  weaving  a  great  aid  in  understanding 
the  structure  of  a  piece  of  cloth. 

The  work  is  so  full  of  possibilities  and  the  results  obtained  have  such  a  wonderful  effect  on  the 
character  of  the  worker  that  these  alone  afford  ample  reasons  why  weaving  should  be  carried  on  in 
both  school  and  community. 

Double  weaving  as  it  was  done  in  the  early  days  is  such  a  mystery  to  the  home  weavers  of  today 
that  it  was  thought  advisable  to  add  a  chapter  on  this  branch  of  the  work  in  the  present  edition. 


scarcity  of  linen  at  the  present  time  suggested  to  the  author  the  addition  of  a  few  good  linen 
weavers.  Flax  is  so  e;isily  cultivated  and  prepared  for  use  that  those  interested  will  find  little  diffi- 
culty in  preparing  the  flax  from  the  seed  to  the  finished  piece  of  cloth. 

The  descriptions  given  are  for  the  amateur  weaver  who  will  find  them  more  easily  understood 
than  those  given  in  the  more  technical  books  on  the  subject. 

It  is  hoped  that  those  interested  will  find  help  through  the  suggestions  offered  in  this  manual. 

EDWARD  F.  WORST. 


450515 


TABLE    OF    CONTENTS 


CHAPTER  I 

THE  LOOM,  WARPING  AND  THREADING— Loom  Weaving— The 
Construction  of  Plain  Cloth — The  Essential  Parts  of  Loom — 
Preparing  a  Long  Warp — The  Warping  Board  and  Its  Use — 
Taking  Off  the  Warp — The  Warping  Reel — Alternate  Method  of 
Warping  with  Four  Threads — Keeping  Account  of  Threads 
Warped — Warping  a  Number  of  Threads  at  Once — Turning  on, 
or  Beaming — The  Warp  Spreader — Laying  in  Sticks — Knotting 
the  Heddles — Heddle  Sticks — Threading  the  Loom — The  Reed — 
Threading  and  Placing  the  Reed — Tying  the  Loom — The  Cloth 
Beam— The  Shed— The  Small  Shuttle — Bobbin  Winder— The 
Temple— The  Reel  7-39 

CHAPTER  II 

PATTERN  WEAVING— Rag  Rugs— Introducing  Color— Plaids— Pat- 
tern Weaving — Beginning  the  Threading — Threading  the  Reed — 
Tying  the  Heddle  Sticks — Weaving  the  Pattern — Weaving  a 
Border — Second  Change  in  Pattern — Using  Checked  Paper — 
Adaptations  of  Patterns — Rose  Path  Pattern — Threading  and 
Weaving  the  Pattern — The  Lambs 40-54 

CHAPTER  III 

COLONIAL  PATTERNS— Reading  a  Pattern  Draft— The  Big  Diamond 
Pattern — The  Tie-up — Weaving  the  Pattern — The  Treadling 
Draft — Where  to  Begin  the  Threading  for  Large  Patterns — Block 
Work  Pattern— Chariot  Wheel  Pattern— Orange  Peel  Pattern- 
Governor's  Garden — Bonaparte's  March — Weaving  the  Borders — 
Blooming  Flowsr — Snail's  Trail — Pine  Knot — Federal  Knot- 
Wheel  of  Fortune — Irish  Chain — Rings  and  Chains — Old  Quilt 
Pattern — Miscellaneous  Patterns — Wind  Flower  Pattern — Whig 
Rose  Pattern — Sun,  Moon  and  Stars — Pine  Cone  Bloom — Lily  of 
the  Valley  55-100 


CHAPTER  IV 

ANALYSIS  OF  WOVEN  PATTERNS— How  to  Make  a  Draft  From  a 
Woven  Pattern — Another  Analysis — Blocking  Out  a  Pattern 
From  a  Draft 101-107 

CHAPTER  V 

LINEN  WEAVES— The  Weaving  of  Linen— Martha  Washington 
Towel — Betsy  Ross  Towel — Mollie  Pitcher  Towel — Three  Har- 
ness Linen  Weave — Treadling  Draft  for  Three-Harness  Weave — 
M's  and  O's  Pattern 108-114 

CHAPTER  VI 

DANISH  AND  NORWEGIAN  WEAVING— Expressing  Danish  Patterns 
— Reading  a  Danish  Draft — Tying  the  Treadle — Norwegian  Pat- 
terns    115-120 

CHAPTER  VII 

SWEDISH  WEAVING— Swedish  Way  of  Writing  a  Draft— Irregular 
Threading — Three-Harness  Draft — Eight-Harness  Pattern — Hed- 
dle Frames — Tie-up  for  Two  Sets  of  Lambs— Six-Harness  Pat- 
tern— Six-Harness  Loom — Eight-Harness  Loom — Miscellaneous 
Swedish  Patterns  121-163 

CHAPTER  VIII 

DAMASK  DOUBLE  WEAVE— Damask  Weave— Threading  the  Reed- 
Tie-up — Ten-Harness  Tie-up — Table  Mat — Rug  Weaving  in 
Wool — Operation  of  Treadles — Sea  Shell  Pattern — Tie-up  for 
Virginia  Beauty — Transposing  a  Four-Heddle  Draft 164-170 


TABLE  OF  CONTENTS— Continued 


CHAPTER  IX 

DOUBLE  WEAVING — Double  Weaving — Entering  the  Double  Warp  in 
Harness — Weaving  Double  Cloth — Double  Pattern  Weaving — 
Warp  for  Double  Woven  Pattern — Threading  and  Tie-up  for 
Double  Woven  Pattern — Explaining  the  Tie-up — Equipment  of 
Loom  for  Double  Weaving — Miscellaneous  Materials — Threading 
the  Reed  for  Double  Weaving — Tie-up — Double  Weaving  with 
Several  Changes — Analysis  of  Double  Woven  Pattern — Tread- 
ling— The  Warp  Beam — Double  Weaving  with  Two  Harnesses — 
Pattern  Harness — Tabby  Harness — The  Figure  Harness — Ex- 
plaining the  Tie-up— Miscellaneous  Double  Woven  Pat- 
terns    .  177-214 


CHAPTER  X 

TEXTILES  AND  WOOD— Combinations  of  Textiles  and  Woo.d— Foot 
Stool — Waste  Basket — Screens  215-223 

CHAPTER  XI 

DESIGN  AND  CONSTRUCTION  OF  LOOMS— Danish  Loom— Swedish 
Loom  224-232 

DYES  AND  DYEING — Mordant— Formulae  for  Dyeing— Yellow— Reds 
— Preparation  of  Olium — Blue  Dyes — Green  Dyes — Green  with 
Birch  Leaves — Violet  Dyes — Violet  with  Cochineal  Brown  Dyes — 
Gray  Dyes — Black  Dyes — Further  Use  of  Used  Dye  Liquids — 
Yellow  After-Dyes — Red  After-Dyes — Blue  After-Dyes — Violet 
After-Dyes — Green  After-Dyes — Dyeing  of  Old  Goods — Bleaching 
of  Woolen  Goods — Hand  Measures 234-257 


Foot-Power  Loom  Weaving 


CHAPTER  I 
The  Loom,  Warping  and  Threading 


Loom  Weaving 

Notwithstanding  the  introduction  of  the  power  loom 
and  all  its  wonderful  possibilities,  the  hand  loom  still 
survives  and  seems  likely  to  continue  in  use  since  numerous 
schools  and  handicraft  societies  as  well  as  many  independ- 
ent art  workers  are  becoming  interested.  This  gives  hope 
that  at  some  time  in  the  near  future  the  domestic  occupa- 
tions  of  weaving  and  spinning  in  both  flax  and  wool  will 
again  find  a  place,  not  only  in  the  home  but  also  in  the 
studio  and  in  the  industrial  school.  The  appreciation  of 
handwork  lias,  during  the  past  decade,  increased  in  the 
estimation  of  the  public. 

In  various  European  countries,  as  well  as  in  India, 
China  and  Japan,  hand  loom  weaving  still  continues.  In 
Norway  and  Sweden  a  very  successful  line  of  home  in- 
dustry is  carried  on  to  great  advantage  to  many  women 
who  find  it,  necessary  to  aid  in  the  family  support.  This 
may  also  be  said  of  the  women  in  the  Orkney  and  Shetland 
Islands. 

Of  late  much  has  teen  written  of  the  beautiful  hand- 


weaving  done  by  the  women  in  the  mountains  of  Kentucky 
and  Tennessee.  So  attractive  is  this  work  that  little  diffi- 
culty is  experienced  in  disposing  of  the  articles  woven. 

Since  the  introduction  of  machine  spinning  and  weav- 
ing, no  home  industry  which  approaches  them  in  usefulness 
or  interest  has  taken  their  place.  It  is  true  that  there  are 
many  lines  of  weaving  now  produced  by  the  machine,  too 
intricate  to  be  attempted  on  the  hand  loom,  but  the  weaving 
of  linen,  cotton,  woolen  and  the  coarser  silk  threads  into 
materials  of  strength  and  beauty  for  home  use,  can  quite 
well  be  carried  on  in  the  studio  and  even  by  the  home-maker 
who  has  other  household  occupations. 

There  is  no  doubt,  as  to  the  superiority  of  a  well  made, 
hand-woven  article.  This  is  plainly  shown  if  the  hand- 
made and  the  machine-made  articles  are  compared.  Hand 
loom  weaving,  too,  is  superior  to  machine  weaving  if  judged 
by  the  effect  it  is  likely  to  have  on  the  worker.  The  hand 
weaver  is  employed  in  a  pleasant,  ingenious  occupation 
which  exercises  all  his  faculties,  while  the  attendant  on  a 
power  loom  is  engaged  in  a  monotonous  toil  in  which  no 
quality  but  intense  watchfulness  is  required. 


FOOT-POWER  LOOM  WEAVING 


' :  lvhe  object  of  this  manual  on  weaving  is  to  give  to  the 
amateur  weaver  the  benefit  of  the  author's  experience  in 
preparing  the  fibers,  the  warping  and  the  threading  of  the 
loom  for  plain  weaving,  as  well  as  learning  to  interpret  and 
to  execute  various  pattern  drafts  used  in  our  own  and 
other  countries. 

Through  the  exercises  given  it  is  hoped  the  weaver  m.ay 
be  led  to  invent  and  to  work  out  many  interesting  and 
original  designs. 

The  Construction  of  Plain  Cloth 

If  a  piece  of  plain  cloth  is  examined  it  will  be  found 
to  consist  of  a  number  of  longitudinal  threads  placed  side 
by  side  and  interlaced  by  a  continuous  single  thread.  The 
latter  thread  passes  alternately  above  and  below  or  before 
and  behind  the  longitudinal  threads.  Fig.  1  shows  the  ar- 
rangement of  the  longitudinal  threads  and  the  continuous 
thread  crossing  and  intersecting  them. 

The  longitudinal  threads  of  a  piece  of  woven  material 
are  always  called  the  warp.  They  are  so  named,  because, 
in  order  to  allow  their  being  intersected  conveniently  by 
the  continuous  crossing  thread  they  have  to  be  warped, 
that  is,  tightly  strained  in  position  on  some  kind  of  frame 
prepared  for  the  purpose.  The  continuous  crossing  thread 
has  several  names,  such  as  weft,  woof,  or  shoot  (shute). 

If  the  warp  threads  are  carefully  examined  they  will 
be  found  to  consist  of  several  fine  threads  twisted  together. 
This  is  done  to  give  added  strength.  The  weft  may  be 
single  and  the  thread  only  slightly  twisted,  as  this  makes 


Fig.  1 — A  Piece  of  Plain  Cloth 


ESSENTIAL  PARTS  OF  A  LOOM 


it  soft  so  the  warp  and  weft  are  easily  pressed  together  into 
a  linn  material. 

The  weaving  of  mats  and  baskets  from  local  materials 
and  from  ral'Iia,  reed  and  willow  may  be  done  without  any 
special  appliance  for  holding  or  stretching  the  material 
while  it  is  being  woven. 

When  fine  thread  is  to  be  woven  the  problem  is  very 
different,  and  it  becomes  absolutely  necessary  to  devise 
some  kind  of  frame  to  hold  and  stretch  the  warp  upon,  so 
that  the  weft  may  be  readily  interlaced  with  it.  The  more 
elaborate  frame  constructed  for  this  purpose  has  by  uni- 
versal consent  been  called  a  loom. 

The  Essential  Part  of  a  Loom 

In  all  the  ancient  pictures  of  looms  the  stretched  warp 
threads  are  shown  and  the  insertion  of  the  weft  threads 
is  suggested;  but  the  lease,  the  one  universal  and  indis- 
pensable contrivance  used  in  weaving,  has  been  omitted. 
While  not  shown,  it  must  have  been  there,  for  no  loom 
could  be  operated  without  it. 

Fig.  L'  illustrates  the  three  steps  in  the  construction 
of  a  simple  loom.  The  construction  is  similar  to  the  looms 
made  by  the  pupils  of  the  lower  grades. 

l-'ig.  -.  "A"  shows  the  loom  without  the  thread. 

"R"  shows  the  warp  threads  wound  upon  it  length- 
wise. 

"C"  shows  the  strings  on  the  board  intersected  by  two 
rods,  "D,"  in  such  a  way  that  alternate  strings  go  over  and 
under  each  rod.  In  the  space  between  the  rods  the  alter- 


® 


Pig.  2— Simple  Loom 


nate  strings  cross  eacli  other  in  regular  succession.  While 
the  rods  "D"  are  kept  in  their  position  in  the  warp  it.  is  im- 
possible for  the  threads  to  get  out  of  place  or  to  get  hope- 
lessly entangled,  as  they  certainly  would  if  any  great  num- 
ber of  threads  were  used. 

This  cross  is  called  the  lease  and  is  really  the  one  in- 
dispensable part  of  the  loom.  Xo  two  looms  may  be  alike 
in  any  other  respect  but  in  the  case  of  the  lease.  One  can- 
not dispense  with  this  simple  yet  perfect  contrivance  for 
keeping  the  warped  threads  in  order  when  a  long  war]) 
made  up  of  hundreds  of  threads  is  required. 

Preparing  a  Long  Warp 

A  warj)  longer  than  the  loom  cannot  be  made  upon  the 
loom  as  was  shown  in  A,  T5,  C,  Pig.  2. 


10 


FOOT-POWER  LOOM  WEAVING 


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Pig.  3 — Use  of  Warping  Board 

This  being  true,  some  sort  of  apparatus  must  be  con- 
structed on  which  to  build  up  a  series  of  threads  of  exactly 
the  required  length  and  number  of  threads.  These  threads 
must  be  held  in  exactly  the  same  tension  so  that  when 
transferred  to  the  loom  and  stretched  between  its  front  and 
back  beams  they  shall  give  the  weaver  as  little  trouble  as 
possible  with  loose  threads. 

This  process  of  preparing  the  threads  is  called  irarp- 
ing.    There  are  several  ways  of  doing  the  warping. 
Construction  of  Warping  Board 

Fig.  3  shows  the  construction  of  a  warping  board.  On 
this  board  may  be  warped  a  moderate  number  of  threads, 


such  as  would  be  required  for  a  foot-power  loom.  The 
warping  board  makes  it  possible  to  illustrate  perfectly 
the  principles  of  warping. 

The  board  shown  in  Fig.  3  (1,  2  and  3)  is  six  feet  long 
by  one  foot  wide.  It  is  made  to  hang  firmly  on  a  wall  at 
such  a  height  from  the  ground  that  the  operator  can  reach 
to  any  part  of  it  without  difficulty. 

On  a  board,  the  size  indicated  in  Fig.  3,  a  warp  ten 
yards  in  length  may  be  warped.  A  longer  length  may  be 
warped  either  by  increasing  the  length  of  the  board  or  by 
increasing  its  width  and  adding  to  the  number  of  pegs. 
The  pegs  should  be  made  of  hard  wood  not  less  than  six 
inches  long  and  one  inch  in  diameter. 

The  pegs  marked  A  and  E  must  be  movable,  perfectly 
smooth  and  have  nicely  rounded  ends.  The  space  between 
A  and  B  should  not  be  less  than  one  foot,  and  the  space  be- 
tween B  and  C,  six  inches.  The  space  between  D  and  E 
should  also  be  one  foot.  ( No.  1,  Fig.  3 ) . 

The  Board  in  Use 

Let  the  problem  at  hand  be  to  make  a  warp  of  thirty 
threads  ten  yards  long. 

Place  a  spool  of  ordinary  four-ply  carpet  warp  on  end 
in  a  receptacle  of  some  kind  in  order  that  the  thread  may 
freely  unwind.  If  a  spool  rack  may  be  conveniently  had 
the  spool  may  be  slipped  on  to  one  of  the  rounds  of  the 
rack.  Tie  the  free  end  of  the  spool  of  warp  to  the  movable 
peg  A,  No.  2,  Fig.  3.  Guide  the  thread  under  peg  B  and 
over  peg  C.  Then  follow  the  dotted  line,  as  shown  in  No. 


SECURING  THE  CROSSES 


11 


2,  Fig.  3,  by  allowing  the  thread  to  pass  outside  the  pegs 
1,  2,  3,  back  to  4,  then  to  pegs  5,  G  and  7,  until  it  reaches 
peg  D,  which  it  goes  under.  Carry  the  thread  now  over 
and  under  peg  E,  and  then  begin  its  return  by  carrying  the 
thread  over  D,  No.  3,  Fig.  3,  on  to  peg  7  (see  dotted  lines) 
and  so  back  in  the  same  course,  until  we  again  reach  peg  1. 
It  must  now  be  taken  below  C,  over  B,  and  below  A  (see 
dotted  lines).  This  completes  one  course.  The  warping 
board  should  now  look  like  No.  3,  Fig.  3,  with  the  threads 
crossed  between  pegs  I!  and  (\  and  1)  and  E.  Two  threads 
have  now  been  warped,  having  a  length  of  ten  yards  be- 
tween the  crosses. 

The  second  thread  having  been  carried  around  and 
over  peg  A,  went  under  B  and  then  followed  Exactly  the 
course  of  the  lirst  thread  until  it  reached  E.  Then,  fol- 
lowing the  second  thread  back  it  reaches  A.  goes  under  and 
over  the  peg.  and  four  threads  out  of  the  thirty  are  warped. 
By  the  time  fifteen  forward  and  fifteen  backward  journeys 
are  made  the  sample  warp  of  thirty  threads  is  finished  and 
may  be  taken  from  the  hoard  as  soon  as  the  crosses  have 
been  made  secure. 

One  can  readily  understand  by  the  above  explanation 
that  a  great  amount  of  time  would  be  consumed  in  making 
a  war])  by  handling  one  thread  at  a  time.  Since  four-ply 
carpet  warp  is  to  be  used  for  the  first  warping,  four  spools 
may  be  placed  on  the  spool  rack,  the  four  ends  tied  to  the 
proper  peg  at  one  time  and  then  the  course  pursued  with 
the  four  threads,  as  was  described  for  only  one  thread. 
This  causes  four  threads  to  pass  under  and  over  the  pegs 


instead  of  one.  On  account  of  the  coarseness  of  the  warp 
there  is  little  or  no  danger  of  the  threads  becoming  tangled. 
A  more  detailed  explanation  of  running  more  than  four 
threads  will  be  given  later.  The  above,  however,  works 
very  successfully. 

Securing  the  Crosses 

The  important  matter  of  securing  the  crosses  is  easily 
done,  but  if  forgotten  the  warp  will  be  spoiled  when  it  is 
removed  from  the  board. 

Fig.  4  shows  clearly  the  way  it  is  done.  The  letters  in- 
dicate the  pegs  of  the  warping  board ;  the  heavy  lines  are 
the  threads  of  a  warp,  which  may  be  of  any  number  of 
threads. 

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Pig.  4 — Securing  the  Crosses 

The  important  crosses  are  shown  between  C  and  B 
and  between  1)  and  E.  A  thin,  pliable  cord  about  two  yards 
long  is  now  drawn  in  at  each  cross  from  the  back  to  the 
front,  through  the  openings  in  front  of  the  pegs.  Tie  the 
ends  of  the  cord  as  shown  in  Fig.  4.  By  this  means  the 
crosses  are  perfectly  secured. 

It  will  be  observed  that  there  is  another  cross  in  the 
warp  between  B  and  A.  This  is  not  so  important.  A  short 
cord  may  be  drawn  through  the  loop  at  peg  A,  and  the 
threads  may  l>e  tied  all  together. 


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FOOT-POWER  LOOM  WEAVING 

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Fig.  5 — Taking  off  the  Warp 


The  warp  may  now  be  removed  from  the  board  and 
made  into  what  is  called  a  chain. 

Taking  Off  the  Warp 

The  warp  is  taken  off  the  warping  board  for  conveni- 
ence in  transfering  it  from  the  board  to  the  warp  beam  of 
the  loom. 

The  crosses  having  been  made  secure,  the  warp  is  ready 
to  be  removed  from  the  board.  The  long  strings  between 
the  crosses  may  be  wrapped  around  the  warp  to  prevent 
them  from  hanging  in  the  way. 

First  remove  the  peg  A,  Fig.  5.  Allow  the  warp  to  slip 
from  the  other  pegs,  B  and  C,  and  also  No.  1,  Fig.  5.  Hold 


the  warp  with  the  left  hand  about  two  feet  from  the  end. 
While  the  warp  is  being  held  with  the  left  hand,  throw  the 
end  over  the  warp  with  the  right  hand,  as  shown  at  F, 
Fig.  5. 

This  makes  a  kind  of  loop.  With  the  left  hand  still 
holding  the  warp,  the  right  hand  is  put  through  the  loop 
at  G,  Fig.  5.  The  Avarp  is  grasped  and  drawn  through  the 
loop  far  enough  to  make  a  second  loop,  held  by  the  right 
hand.  The  left  hand  is  now  free  and  is  put  through  the 
new  loop  held  by  the  right  hand.  The  warp  is  grasped  and 
drawn  through  the  new  loop  thus  making  a  third  loop 
held  this  time  by  the  left  hand.  The  right  hand  being  free 
is  put  up  through  the  third  loop,  the  warp  is  grasped  and 


Pig.  6 — Chain  Made  with  Warp  from  Warping  Board 


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FOOT-POWER  LOOM  WEAVING 


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Fig.  9— Working  Drawing  of  Spool  Rack 


A  B  C 

Fig.  11 — Method  of  Starting  Threads 


Fig.  12 — Threads  Passed  over  Lower  Pegs 


Fig.  10— Spool  Rack 


f\  B  C 

Fig.  13— Another  Method  of  Starting  Threads 


drawn  through  the  loop.  This  is  continued  until  the  en- 
tire warp  has  been  removed  from  the  board. 

The  process  of  taking  off  the  warp  will  be  recognized 
as  the  same  as  making  a  chain  stitch  in  crocheting,  the 
hands  doing  the  work  instead  of  a  hook.  See  Fig.  6. 

Before  placing  the  warp,  Avhich  may  now  be  called  a 
chain,  on  the  warp  beam  of  the  loom,  another  method  of 
warping  will  be  considered. 


The  Warping  Reel 

The  use  of  the  warping  reel,  sometimes  called  the 
warping  mill,  somewhat  simplifies  the  process  of  warping. 
Pig.  7  shows  a  working  drawing  of  a  warping  reel,  and 
Fig.  8  shows  the  finished  reel. 

It  will  be  observed  that  the  pegs  appear  on  the  cross 
bars  of  the  finished  reel  marked  A,  B,  C,  and  D,  E,  the 
same  as  on  the  warping  board.  The  distance  between  the 


THE  WARPING  REEL 


15 


upright  posts  of  the  reel  is  27  inches.  The  spools  of  warp 
are  placed  as  when  the  warping  board  was  used.  Some  sort 
of  a  spool  rack  is  almost  indispensable.  Yet  any  convenient 
way  of  arranging  the  spools  so  the  thread  will  freely  un- 
wind, will  answer  the  purpose.  Fig.  9  shows  the  working 
drawing  of  the  spool  rack  and  Fig.  10  shows  the  finished 
rack. 

Supposing  that  four  threads  are  to  be  warped  at  one 
time.  The  four  ends  are  all  tied  at  one  time  to  peg  A, 
Fig.  11.  They  are  can-led  under  B  and  over  C  and  then 
start  on  their  way  around  the  reel,  the  threads  being  guided 
on  their  way  to  pegs  D  and  E  by  the  left  hand  while  the 
reel  is  turned  by  the  right  hand.  The  person  performing 
the  work  remains  stationary.  On  reaching  peg  D  the  group 
of  four  threads  is  carried  over  it,  under  and  around  E  and 
back  under  D,  as  shown  in  Fig.  12.  From  here  the  threads 
start  back  toward  pegs  A,  B  and  C,  passing  under  C,  over 
and  under  and  around  A,  under  B  and  over  C,  as  in  the 
beginning. 

The  reel  measures  27  inches  between  posts.  Passing 
around  the  reel  once  is  equal  to  three  yards  of  warp. 
Knowing  this,  makes  it  an  easy  matter  to  measure  off  any 
number  of  yards. 

Another  Way  to  Begin  With  Four  Threads 

The  four  threads  may  be  tied  together  and  slipped  on 
to  peg  A,  two  threads  being  on  top  of  the  peg  and  the 
other  two  belaw.  Bring  the  two  threads  which  are  below 
A.  over  B,  and  the  two  above  A,  below  B.  Allow  the  two 


below  B  to  pass  over  C  and  bring  the  two  above  B  so  that 
they  pass  below  C,  Fig.  13.  From  this  point  the  four 
threads  are  guided  around  the  reel  just  as  above  described. 
The  four  threads  pass  over  and  under  D  and  E,  as  shown 
in  Fig.  12.  On  their  return  to  peg  A  the  four  threads  pass 
under  the  pegs  the  two  went  over,  and  over  the  pegs  the 
two  went  under,  and  the  warping  proceeds  in  the  sam<1 
manner  as  when  using  the  warping  board. 

Keeping  Account  of  the  Number  of  Threads  Warped 
As  soon  as  the  threads  have  crossed  a  few  times  be- 
tween pegs  D  and  E,  it  will  be  found  difficult  to  remember 
how  many  threads  are  gathered  together  on  the  pegs.  It 
becomes  necessary  to  use  some  device  for  keeping  count  in 
order  to  know  when  the  warp  is  completed. 

This  account  can  be  easily  kept  if  a  piece  of  cord  or 
tape  is  used. 


Fig.  14 — Keeping  Account  of  Threads  Warped 

After  the  group  of  four  threads  passes  between  pegs 
D  and  E  five  times,  draw  one  end  of  the  cord  or  tape 
through  the  opening  next  to  peg  I),  and  the  other  end 
through  the  opening  next  to  E,  as  shown  in  Fig.  14. 

The  warping  continues  until  five  more  groups  have 
been  warped  or  reeled,  as  the  process  is  sometimes  called. 
The  end  of  the  colored  cord  or  tape  marked  "f,"  Fig.  14, 


16 


FOOT-POWER  LOOM  WEAVING 


Fig.  15 — Removing  the  Warp  from  the  Reel 


Is  now  passed  through  the  opening  next  to  peg  D,  and 
the  end  of  the  cord  or  tape  marked  "e"  passes  through  the 
opening  next  to  peg  E,  thus  making  a  cross  in  the  cord  or 
tape  between  the  first  group  of  five  and  the  second  group 
of  five.  As  there  are  twenty  threads  in  each  group  the 
worker  knows  that  the  warp  contains  forty  threads.  This 
is  continued  until  the  required  number  of  threads  has  been 
reeled. 

The  cross  at  the  beginning  and  the  one  at  the  end  of 
the  warp  are  now  secured  in  the  same  way  as  when  the 
warp  is  made  on  the  warping  board. 

Removing  the  Warp  from  the  Reel 
Peg  A  is  removed  and  the  warp  is  slipped  from  pegs 
B  and  C.    A  chain  is  made  the  same  as  when  removing  a 
warp  from  the  warping  board.    See  Fig.  15. 

To  Warp  a  Number  of  Threads  at  Once 

If  only  four  or  six  threads  are  warped  at  a  time  these 
may  easily  be  carried  and  placed  over  and  under  the  pegs 
in  a  group.  It  will  be  learned  a  little  later  that,  when  the 
lease  rods  are  placed,  either  four  or  six  threads,  according 
to  the  number  warped  at  a  time,  will  pass  over  and  under 
the  rods  at  one  time. 

When  eight,  ten,  twelve,  or  sixteen  threads  are  warped 
at  a  time  the  problem  is  somewhat  more  complicated  and 
should  be  done  in  such  a  way  as  to  bring  alternate  threads 
over  and  under  the  lease  rods.  This  arrangement  of  the 
threads  makes  the  threading  of  the  loom  easy  and  keeps 
the  threads  from  becoming  snarled  or  twisted  one  with  an- 


WARPING  SEVERAL  THREADS 


17 


other.    Arrange  the  spools  on  the  spool  rack,  as  shown  In 
Fig.  16. 

A  paddle-shaped  piece  of  14"  or  3/16"  basswood  is  cut 
as  shown  in  Fig.  17,  to  serve  as  a  guide.  Any  number  of 
holes  may  be  bored.  Sixteen  is  usually  the  greatest  num- 


O 
O 
O 
O 
O 
O 
O 


n 

Pig.  16— Spools  on  Rack 


O 
O 
O 
O 
O 
O 
O 


Fig.  17— A  Paddle 


Pig.  17A— Method  of  Using  Paddle 

ber  for  the  amateur.  The  cuds  of  the  threads  coming  from 
the  spools  on  the  left  side  of  the  rack  and  all  unwinding 
in  the  same  direction  are  threaded  through  the  holes  in  the 
left  side  of  the  guide,  Fig.  17A,  and  the  ends  coming  from 
the  spools  on  the  right  side  of  the  rack  are  I  In-ended  through 
the  holes  in  the  right  side  of  the  guide.  17A.  The  ends  are 
now  all  gathered  together  and  tied  in  one  knot  and  slipped 
over  peg  A  of  the  warping  reel,  four  threads  being  on  top 
and  four  below  the  peg,  the  threads  fixed  to  peg  A,  Fig. 
17A.  The  guide  is  held  in  the  left  hand  in  an  upright  posi- 
tion so  the  Hi  reads  are  well  separated.  With  the  first  finger 
and  thumb  of  the.  right  hand  the  threads  (warp)  must  be 
crossed.  This  is  done  by  placing  the  first  finger  of  the  right 


18 


FOOT-POWER  LOOM  WEAVING 


Fig.  17B— Reeling  Eight  Threads  with  Paddle 


WARPING  SEVERAL  THREADS 


19 


Fig.  18— First  Thread  Pulled 
Down 


Fig.   19— Second  Thread   Pulled 
Down 


hand  on  the  lowest  thread  on  the  right  side  of  the  guide 
and  pressing  it  downward.  Fig.  IS.  The  thread  just 
pressed  down  passes  under  the  linger  and  over  the  thumb. 
With  the  thumb  press  down  the  lowest  thread  on  the  left 
side  of  the  guide,  Fig.  10.  This  thread  passes  under  tin- 
thumb  and  over  the  finger.  Allow  the  finger  to  press  down 
the  second  thread  on  the  right  side  of  the  guide.  This 
thread  now  passes  under  the  linger  and  over  the  thumb. 
With  the  thumb  press  down  the  second  thread  on  the  left 
side  of  the  guide,  Fig.  18.  This  is  continued  until  all  the 


threads  are  crossed  on  the  finger  and  thumb  of  the  right 
hand.  This  cross  is  transferred  to  the  pegs.  When  placed 
on  the  pegs  B  and  C,  it  will  be  found  that  there  is  a  cross- 
ing of  alternate  threads.  The  eight  threads  are  now  held  in 
one  group  and  carried  around  the  warping  reel  until  the 
pegs  at  the  other  end  are  reached.  The  group  of  threads 
is  carried  over  and  under  the  pegs  the  same  as  was  de- 
scribed with  the  warping  board  when  only  one  or  four 
threads  at  a  time  were  warped. 

Turning  On,  or  Beaming 

At  the  present  time  the  warp  is  in  a  long  chain  ready 
to  be  placed  on  the  loom  in  such  a  way  as  to  make  it  pos- 
sible for  the  weaver  to  produce  a  piece  of  cloth.  To  do  this 
the  ends  at  E  must  be  attached  to  a  roller,  (in  this  case 
the  warp  beam)  and  spread  out  and  wound  evenly  and 
tightly  upon  it.  The  warp  beam  tits  into  the  back  of  the 
loom  frame,  as  shown  in  Fig.  20. 

For  demonstration,  suppose  I  hat  the  cloth  to  be  woven 
is  22  inches  wide  and  there  are  to  he  L'l  threads  to  each  inch. 
The  warp  then  contains  .~>2s  threads,  and  this  number  is 
made  up  of  (>0  groups  of  eight  threads  each.  It  will  be  re- 
membered that  count  was  kept  of  the  groups  by  means  of 
the  cord  or  tape  between  the  pegs  I)  and  E  while  the  warp- 
ing was  in  progress. 

The  Warp  Spreader  (Raddle) 

Fig.  21  shows  a  working  drawing  of  the  spreader,  also 
failed  raddle. 


20 


FOOT-POWER  LOOM  WEAVING 


Fig.  20 — Loom  with  Parts  Named 


Till';  WARP  SPREADER 


21 


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Fig.  21 — Working  Drawing  of  Warp  Spreader  or  Raddle 


Fiji.  --  shows  the  drawing  of  the  finished  spreader 
with  the  top  removed. 

The  spreader  is  most  simply  described  as  a  comb,  with 
a  movable  cap  to  cover  the  ends  of  the  teeth.  The  frame  is 
made  of  wood.  The  teeth  may  be  made  of  dowel  rods  or 
hard  wire.  Nails  have  sometimes  been  used. 


The  cap  is  deeply  grooved  above  the  teeth  and  has  holes 
near  the  ends.  Through  these  holes  (lie  sides  of  the  frame 
pass  in  order  to  fix  it  on,  as  shown  in  Fig.  22. 

A  loom  fully  equipped  has  in  the  equipment  a  couple 
of  rods,  one  to  be  used  in  placing  the  warp  on  the  beam. 

With   the  chain  at    hand  and  taking  the  end  which, 


O 


Fig.  22 — Warp  Spreader  with  Cap  Removed 


FOOT-POWER  LOOM  WEAVING 


Fig.  23 — Method  of  Keeping  the  Cross 

when  on  the  reel  was  between  D  and  E,  push  a  rod  through 
the  opening  marked  "A,"  Fig.  23.  Untie  the  cord  which 
held  the  cross  and  allow  it  to  remain  on  the  other  side  of 
the  crossed  threads,  as  shown  in  B,  Fig.  23.  Tie  the  ends 
of  the  cord  to  the  ends  of  the  rod,  as  shown  in  Fig.  23,  C 


and  D.  By  so  doing  the  cross  is  retained.  The  rod  may 
now  be  tied  to  the  warp  beam.  A  provision  is  always  made 
for  this  tying.  In  the  old  colonial  looms,  holes  are  bored ; 
the  same  is  true  of  the  Swedish  type,  while  the  Danish 
looms  have  a  groove  ploughed  in  the  beam  from  end  to 
end  into  which  a  smooth  wooden  or  metal  stick  is  placed 
to  hold  the  warp  to  the  beam. 

From  the  front  of  the  loom  remove  the  beater,  some- 
times called  the  batten,  the  breast  beam  and  the  harness, 
Fig.  20.  This  makes  a  free  opening  from  the  front  to  the 
warp  beam. 

Tie  the  rod  shown  in  Fig.  23  to  the  warp  beam  with 
No.  12  blocking  twine.  This  fastens  the  chain  to  the  beam, 
but  in  order  that  it  may  be  placed  on  the  beam  evenly  the 
groups  of  thread  must  be  distributed  in  the  warp  spreader. 
Place  the  spreader  under  the  chain  and  on  a  level  with 
the  warping  beam.  To  hold  the  spreader  in  this  position  it 


Pig.  24 — Spreader  in  Place  on  Loom 


USING  THE  SPREADER 


23 


may  be  tied  to  the  upright  parts  of  the  loom,  or  it  may  be 
held  by  two  persons,  one  at  each  side  of  the  loom.  Fig. 
24  shows  the  spreader  in  place.  AVith  the  top  of  the 
spreader  removed  the  groups  of  thread  may  now  be  dis- 
tributed in  their  regular  order.  Since  there  are  528 
threads  in  all  and  eight  threads  in  each  group,  there  will 
IK-  exactly  GG  groups.  There  are  to  be  24  threads  to  each 
iuch.  This  means  that  three  groups  of  eight  threads  must 
be  placed  to  the  inch.  This  will  occupy  three  spaces  on  the 
spreader. 

By  means  of  the  cross  the  groups  of  thread  may  be 
used  in  their  regular  order  and  placed  in  the  spaces  of  the 
spreader.  When  this  is  completed  the  cap  is  placed  and 
fastened,  and  the  warp  is  ready  to  be  beamed. 

One  person  holds  the  chain  and  the  other  turns  the 
beam,  by  placing  a  peg  into  one  of  the  holes  at  the  end  of 
the  beam,  as  shown  at  A,  Fig.  24. 


Fig.  25 — Stand  to  Hold  Spreader 


Pig.  26— Warp  Distributed 

Laying  in  Sticks 

As  the  warp  is  being  wound  on  to  the  beam,  thin  strips 
of  wood  about  3/16"  in  thickness  are  laid  on  the  beam  for 
the  warp  to  wind  on.  This  prevents  the  warp  from  becom- 
ing tangled  and  also  keeps  the  warp  even  across  the  entire 

beam.  Strips  such  as  are  used  in  the  bottom  of  shades  are 
good  for  this  purpose.  After  four  or  five  yards  of  warp  arc 
wound  on  to  the  beam,  lay  in  more  strips. 

A  stand  may  l>e  made  to  hold  the  spreader,  as  shown 
in  Fig.  25.  Fig.  2G  shows  the  warp  distributed.  After 
the  warp  is  distributed  the  cap  is  placed,  thus  holding  the 
groups  of  threads  securely  in  their  proper  spaces.  The 
spreader,  warp,  and  all  may  now  be  transferred  to  the 
loom,  and  the  warp  may  be  put  on  as  above  described. 


FOOT-POWER  LOOM  WEAVING 


Fig.  27— Lease  Rods  in  Place 

The  beam  is  turned  until  the  other  end  of  the  chain 
or  warp  is  reached.  Care  should  be  taken  to  hold  the  warp 
firmly  while  the  winding  is  done.  The  chain  unravels  as 
it  is  wound  on  to  the  beam.  When  the  opposite  end  is 
reached  the  cross  which  was  so  carefully  guarded  at  the 
pegs  A,  B  and  C  is  reached.  Into  these  openings  the  lease 
rods  are  placed,  as  shown  in  Fig.  27. 

The  warp  spreader  may  now  be  removed. 

Later  the  loops  are  cut,  causing  the  ends  to  hang  in- 
stead of  the  loop,  as  shown  in  Fig.  28.  These  ends  may  be 
tied  in  bunches  in  a  loose  knot,  thus  preventing  them  from 
losing  their  places  in  passing  under  and  over  the  lease 
rods,  Fig.  31. 

Knotting  the  Heddles 

The  warp  placed  on  the  beam,  it  now  becomes  neces- 
sary to  consider  the  knotting  of  heddles  or  leashes,  as  they 
are  sometimes  called.  In  order  that  each  heddle  may  be 


of  exactly  the  same  size,  a  heddle  frame  is  constructed 
about  12  inches  by  1%  inches  by  3  inches,  shown  in  Fig. 
29.  The  pegs  are  numbered  a,  b,  c  and  d.  About  iy2" 
from  each  end  a  peg  is  placed  and  in  the  center  two  pegs 
are  placed  one  inch  apart,  Fig.  30.  The  pegs  should  be 
rounded  at  the  top  and  well  sanded  to  make  them  perfectly 
smooth,  thus  causing  the  heddles  to  slip  off  easily. 

The  ordinary  four-ply  carpet  thread  is  a  fairly  good 
material  to  be  used  in  heddles.  Sometimes  linen  thread  is 
used  and  sometimes  a  hard  twisted  cotton,  called  seine 
twine,  used  in  fish  nets,  is  utilized.  The  twine  is  cut  long 
enough  in  order  that  it  may  be  looped  around  a,  Fig.  30. 
Tie  a  knot  at  b  and  another  as  shown  in  c.  The  ends  are 
then  tied  at  "d."  From  25  to  50  may  be  tied  before  remov- 
ing them  from  the  pegs.  There  must  be  as  many  heddles 
as  there  are  threads  in  the  warp.  Heddles  found  in  the 
market  are  made  of  wire.  These  may  be  successfully  used. 


Pig.  28 — Loops  Hanging  Over  Lease  Rods 


KNOTTING  THE  HEDDLES 


25 


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Fig.  29 — Working  Drawing  of  Heddle  Frame 


Fig.  30— Method  of  Tying  Reddles 


Fig.  31 — Heddles  in  Place  for  Threading 


Heddle  Sticks 

Iii  most  foot-power  looms  the  heddle  sticks  are  used 
instead  of  the  heddle  frames.  Fig.  31  shows,  at  A,  heddles 
on  the  sticks.  The  harness,  which  consists  of  the  various 
heddle  sticks  on  which  the  heddles  have  been  placed,  is 
now  hung  in  the  position  shown  in  Fig.  31.  The  person 
who  is  to  do  the  threading  sits  in  the  front  of  the  harness. 


FOOT^POWER  LOOM  WEAVING 


Fig.  32— Threading  the  Heddles 


TPIREIAD1NG  THE  LOOM 


Threading  the  Loom 

The  harness  consists  of  two  sets  of  heddles,  one  direct- 
ly back  of  the  other,  as  shown  in  Fig.  31.  The  threading 
of  the  first  loom  will  be  for  plain  weaving,  such  as  may  be 
used  in  rugs.  The  one  who  is  to  thread  the  loom  has  com- 
fortably seated  himself  in  front  of  the  harness,  as  shown  in 
Fig.  32.  First  a  heddle  on  the  front  sticks  is  pushed  along. 
X  The  first  thread  is  picked  up  and  the  end  is  threaded 
through  the  eye  left  for  this  purpose  in  the  heddle.  A  heddle 
is  now  taken  from  the  back  sticks  and  the  second  thread  is 
picked  up  and  placed  in  the  eye  of  the  heddle.  After  being 
threaded  it  is  pushed  along,  another  heddle  from  the  front 
sticks  is  picked  out,  and  the  third  thread  is  put  through 
the  opening.  It  now  is  pushed  along  and  a  heddle  from  the 
back  sticks  is  picked  out  and  threaded  witli  the  fourth 
thread. 


Fig.  33— The  Reed 

This  is  continued  until  all  threads  have  been  used. 
The  heddles  must  be  so  placed  on  the  slicks  that  each  one 
may  be  slipped  along  without  interference  from  any  of  the 
others.  When  four  threads  pass  over  and  under  the  lease 
rods  at  one  time  the  threads  should  be  taken  in  their  reg- 
ular order  as  nearly  as  possible.  Four  threads  going 
either  over  or  under  are  threaded  before  taking  the  next 
four.  If  the  threads  are  crossed,  as  shown  in  Figs.  18 


Fig.  34 — Reed  In  Position  for  Threading 

and  19,  one  passing  over  and  the  other  under  the  lease  rods, 
they  are  threaded  in  their  regular  order. 

Threading  the  heddles  is  of  the  greatest  importance,  as 
one  mistake  will  throw  out  the  whole  succession  of  remain- 
ing threads.  If  the  heddles  are  of  string  the  threading 
may  be  done  with  the  fingers  only,  but  if  the  heddles  are 
of  wire  it.  will  require  a  heddle  hook  to  draw  the  threads 
through  the  eyes. 


28 


FOOT-POWER  LOOM  WEAVING 


The  Reed 

The  reed  is  the  long  comb-like  piece  of  apparatus  which 
fits  in  the  beater  or  batten  and  aids  in  pushing  or  pressing 
the  woof  in  its  proper  place,  Fig.  33.  The  spaces  in  the 
reed  are  usually  termed  "dents." 

Reeds  are  sold  by  number.  For  instance,  a  number 
12  reed  means  that  there  are  12  openings  or  dents  to  the 
inch.  A  number  15  reed  means  that  there  are  15  dents  to 
the  inch,  etc. 

Threading  the  Reed 

The  threads  having  been  drawn  through  the  heddles 
are  now  ready  to  enter  the  dents  of  the  reed  and  must 
again  enter  in  their  regular  order.  The  threads  must  not 
be  allowed  to  cross  one  another.  In  ordinary  rug  weaving 
one  thread  enters  each  dent.  To  do  this  the  reed  is  hung 
just  in  front  of  the  harness,  as  shown  in  Fig.  34.  By  means 
of  a  reed  hook  the  threads  are  drawn  through  the  dents 
in  their  regular  order,  care  being  taken  to  use  each  dent. 
If  a  selvage  is  desired  two  threads  at  one  time  are  drawn 
through  the  first  four  and  the  last  four  dents  of  the  reed. 
The  reed  is  often  longer  than  the  cloth  to  be  woven  is 
wide;  when  this  is  true,  plan  to  have  the  threads  occupy 
the  center  part  of  the  reed,  leaving  the  surplus  at  each  end. 
If  a  single  dent  should  be  omitted  the  weave  cannot  be 
perfect.  The  reed  hook  may  be  made  of  a  piece  of  thin 
wood,  as  shown  in  Fig.  35.  In  threading  the  reed  the 
hook  is  pushed  through  the  dents  from  below,  catching  the 
thread  and  drawing  it  downward  through  the  opening.  If 
the  wooden  hook  as  shown  in  Fig.  35  is  used,  it  may  be 


I 
.1 


Fig.  35— Reed  Hooks 


pushed  into  the  dent  from  above,  and  the  thread  may  be 
placed  on  the  reed  in  such  a  position  as  to  be  drawn 
through  when  the  hook  is  pulled  from  below.  After  a 
number  of  thi-eads  has  been  entered  they  are  tied  into  a 
bunch.  This  is  done  partially  for  safety,  as  the  reed  may 
slip  in  some  way  from  its  position  and  drop  to  the  floor, 
thus  causing  the  threads  to  slip  from  the  dents. 

Placing  the  Reed 

For  convenience  in  threading,  the  harness  and  reed 
are  hung  close  to  the  warp  beam,  as  in  this  position  the 


THREADING  THE  LOOM 


29 


Pig.  36— Loom  Ready  for  Tying  Up 


weaver  can  sit  in  a  comfortable  position  while  doing  the  reed  put  in  its  proper  place  in  the  batten,  as  shown  in 

threading.  Fig.  36. 

The  threading  having  been  completed  the  harness  and  The  loom  is  now  ready  to  be  "tied  up."    This  process 

reed  are  brought  forward.     The  batten  is  hung  and  the  is  called  "gating  the  loom.'' 


30 


FOOT-POWER  LOOM  WEAVING 


Tying  the  Loom 

Before  beginning  the  tying-up  process  it  is  of  great 
importance  that  the  weaver  understand  some  simple  way 
of  using  a  slipknot,  as  the  process  of  tying  up  requires  a 
great  deal  of  adjusting.  It  is  usual  to  tie  up  with  double 
cords,  as  these  always  terminate  either  in  a  loop  or  two 


Fig.  38— First  Step  in  Making  Loop  for  Slip  Knot 


Fig.  37— Method  of  Tying  Slip  Knot 


F-g.  39— Loop  Completed 

ends,  both  of  which  are  necessary  for  the  adjustable  slip- 
knot. The  loop  for  the  slipknot  is  made  at  the  end  of  the 
looped  cord,  as  shown  at  A,  Fig.  37.  The  finger  and  thumb 
reach  up  and  grasp  the  double  cord  at  "A,"  Fig.  38.  The 
double  cord  is  now  drawn  through  the  opening  marked 
"B,"  as  shown  in  Fig.  39.  Through  the  loop  thus  made 
the  two  ends  of  the  cord  are  passed,  Fig.  40.  Fig.  37,  A, 
B,  C,  and  D  show  in  the  successive  steps  the  way  the  knot 
is  made. 

A  shows  simply  the  loop  and  ends. 

B  shows  the  ends  drawn  through  the  loop. 


TYING  THE  LOOM 


31 


C  shows  the  ends  drawn  through  the  loop  and  a 
single  knot  tied  with  them. 

D  shows  the  single  knot  tied  and  drawn  down  to  the 
loop. 

I'.y  using  I  lie  above  method  for  tying,  the  cords  may 
be  shortened  or  lengthened,  as  the  case  may  be.  By  pulling 
the  two  ends  of  the  single  knot  the  latter  is  drawn  close 
to  the  loop.  It  will  he  found  that  the  knot  will  not  give 
way  no  matter  what  the  weight  of  the  pull  may  be.  If 
i he  cord  is  to  be  lengthened  the  knot  is  loosened  and  the 
cord  is  adjusted. 

The  harness,  which  is  made  up  of  the  heddles  and 
heddle  sticks,  hangs  just  behind  the  l>eater  and  is  sus- 
pended by  tying  the  heddle  sticks  to  the  heddle  horses. 

The  heddle  horses  are  tied  one  to  one  end  of  a  piece 
i  f  No.  1C)  blocking  cord  and  one  to  (lie  other.  Fig.  41  is  the 
drawing  cf  a  heddle  horse.  The  rope  is  thrown  over  the 


Pig  40 — Two  Ends  of  Cord  Placed  in  Loop 

roller  just  al>ove.  allowing  one  horse  to  hang  to  one  side 
and  one  to  the  other.  Two  other  heddle  horses  are  tied 
and  hung  iu  the  same  way  at  the  other  end  of  the  roller. 
Fig.  20  shows  heddle  sticks  hung  in  the  finished  loom. 

Cords  are  tied  from  the  ends  of  the  heddle  horses  to 
the  top  heddle  sticks.  From  the  center  of  each  lower 
heddle  stick  a  loop  of  No.  12  blocking  cord  is  tied.  The 
ends  of  the  cord  extending  from  the  treadles  slip  into  the 
loop,  extending  from  the  heddle  sticks,  as  shown  in  Fig. 


o 


- 


Fig.  41 — Heddle  Horses 


FOOT-POWER  LOOM  WEAVING 


Fig.  42— Method  of  Tying  Heddle  Sticks  to  Treadles 

42.  When  pressure  (in  this  case  the  foot)  is  applied  to  a 
treadle  the  part  of  the  harness  tied  to  that  particular 
treadle  draws  the  threads  downward.  Upon  releasing  this 


treadle  and  applying  the  pressure  to  the  other  treadle  the 
other  half  of  the  threads  is  drawn  downward. 

The  Cloth  Beam 

The  ends  drawn  through  the  reed  are  now  hanging 
loosely  or  tied  in  bunches  in  the  front  of  the  reed.  These 
ends  must  in  some  way  be  connected  with  the  cloth  beam 
(Fig.  20).  Holes  have  been  bored  through  the  cloth  beam. 
Through  these  holes  the  No.  12  blocking  cord  is  drawn. 


Fig.  43 — Method  of  Preparing  Cloth  Beam 

Beginning  at  the  right  of  the  cloth  beam  draw  one 
end  of  the  cord  through  the  first  opening.  The  other  end 
is  tied  to  the  end  of  a  rod,  which  is  as  long  as  the  reed. 

(These  rods  were  mentioned  earlier  in  the  process  of 
warping.  One  was  used  in  fastening  the  warp  to  the 
beam.) 

The  cord  is  now  threaded  through  the  next  hole,  which 
is  No.  2  in  the  cloth  beam,  and  then  through  hole  No.  3. 

A  long  loop  is  left  between  No.  2  and  No.  15  and  the 
rod  is  pushed  through  it.  The  cord  is  now  threaded 


THE  CLOTH  BEAM 


33 


through  hole  No.  4  and  tied  to  the  other  end  of  the  rod, 
as  shown  in  Fig.  43. 

The  cord  is  cut  Jong  enough  to  allow  the  rod  to  be 
brought  up  and  over  the  breast  beam  up  to  the  reed.  The 
ratchet  which  is  connected  with  the  cloth  beam  is  now 
turned,  rolling  on  the  cord  until  the  rod  is  about ,8  or  10 
inches  from  the  reed.  The  ends  now  hanging  irf  bunches 
are  untied.  About  30  threads  are  held  in  one/gVoup.  The 
group  is  divided,  allowing  one-half  of  the/group  to  pass 
under  the  rod  and  the  other  to  pass  over  the  rod.  With  the 
ends  of  the  groups  tie  a  single  bow  knot  over  the  rod. 
Take  up  another  group,  divide  it,  and  tie  the  same  way. 
Continue  until  all  have  been  tied  to  the  rod,  as  shown  in 

44. 

The  Shed 

After  the  loom  is  "tied  up"  and  the  right  treadle  is 
pressed  downward,  all  the  threads  which  pass  through 
the  eyes  of  the  heddles  on  the  front  heddle  sticks  are 
pressed  downward,  thus  causing  a  space  between  Un- 
threads passing  through  the  front  heddle  eyes  and  those 
passing  through  the  back  heddle  eyes. 

This  sjnice  comes  just  in  front  of  the  reed  when  the 
lie;iter  is  swung  back,  as  shown  in  Fig.  4."). 

This  space  is  called  the  "Shed,"  and  it  is  through  I  his 
opening  that  the  woof  is  passed.  The  wool'  once  in  place, 
and  the  treadle  released,  the  beater  is  swung  to  the  front. 
thus  by  means  of  the  reed  the  woof  is  pressed  in  place. 
The  left  treadle  is  now  pressed  downward,  and  the  woof 


Pig.  44— Warp  Tied  to  Cloth  Beam 

again  passes  through  the  shed  from  the  left,  the  beater 
and  reed  pressing  it  into  place  the  same  as  in  the  first 
thread. 

If  rags  or  similarly   heavy   materials  are   used,   they 
are  wound  on  what  is  called  a  shuttle  which  in  this  case  is 


FOOT-POWER  LOOM  WEAVING 


simply  a  piece  of  quarter-inch  bass,  poplar,  or  pine,  cut 
as  shown  in  Fig.  47.  If  finer  materials  such  as  mercerized 
cottons  are  used,  a  shuttle  similar  to  the  one  shown  in 

Fig.  46  is  used. 

The  Small  Shuttle 

The  beginner  will,  no  doubt,  use' principally  the  coars- 
er materials  for  the  woof  and  will,  therefore,  iise  the 
shuttle  as  shown  in  Fig.  46  and  Fig.  46a. 

The  shuttle  shown  in  Fig.  46a  is  so  constructed  as  to 
admit  of  a  piece  of  10  or  12-gauge  wire.  This  wire  extends 
lengthwise  across  the  inside  of  the  opening,  the  ends  being 
forced  into  two  little  holes,  one  in  each  end  of  the  opening. 
In  one  of  the  holes,  a  small  spring  is  concealed  and  the 


M 


[nil 


Fig.  46— Small  Shuttle 


Fig.  47— Shuttle  Stick 


wire  is  put  in  place  very  much  as  a  bobbin  is  placed  into 


Fig.  45 — The  Shed 


the  shuttle  of  a  sewing  machine 
stick. 


Fig.  47  shows  a  shuttle 


THE  SMALL  SHUTTLE 


35 


1 


Pig.  46a— Working  Drawing  of  Small  Shuttle 

Bobbin  Winder 

Fig.  4S  shows  a  bobbin  winder  extensively  used  in 
Norway  and  Sweden.  Small  wooden  spools  are  slipped 
mi  to  the  shaft  of  the  winder,  or  a  piece  of  paper  may  be 
tightly  wrapped  around  the  shaft.  The  end  of  the  thi-ead 
lo  lie  wound  is  caught  in  the  wrapping  of  the  paper.  By 
means  of  the  small  crank  the  wheel  is  turned  and  the 
thread  is  wound  on  the  spool  or  paper.  The  bobbin  is 
made  in  this  way.  If  the  bobbin  winder  as  shown  above 
is  not  available,  a  spinning  wheel  may  be  equipped  to  do 


Fig.  48— Bobbin  Winder 


Fig.  49 — Spinning  Wheel  Used  for  Bobbin  Winder 

the  work.  A  plug  with  an  extension  may  be  forced  into 
the  spindle,  as  shown  in  Fig.  4!(.  The  spool  or  the  paper 
may  be  wrapped  around  this  extension,  and  the  wheel  may 
be  turned  just  as  when  spinning. 

The  Temple 

As  the  weaving  continues,  it  will  be  found  that  there 
is  a  tendency  in  the  fabric  to  "draw  in"  narrower  than 
the  entering  of  the  warp  in  the  reed.  When  this  "drawing 


36 


FOOT-POWER  LOOM  \\'J4AV1NU 


<:—.-* 

• 

<r~. 

i|      |        {      ij      jj      i       i       |!      !|      i|      |i      :|      i|      i       |       |       _      _ 

_3 

.-  =•                                                                                                                               \       .       i 

J    5     .  »*.i    3    ,, 

^*C 

OOOOOOOOOOOOOOOOQO                                  1   ^|<C    1 

+                                  M 

*                                                                                                                  J 

*                                                                                                                                                                                                                           --r--J» 

, 

(•  23  —  - 

i                              |                                                                                                                                                                                                           -A 

)    ' 

\                                                                                                          X 

Bj°     0     '9     5     9 

Pig.  50 — Working  Drawing  for  Temple 


COMMON  TEN  PENNY  NAIL 
TO  BE  USED  AS  PIN 


Fig.  51 — Temple  Closed 


Fig.  52 — Temple  Opened 


THE  TEMPLE  37 


inv  becomes  noticeable,  it  may  be  corrected  by  using  the 
temple. 

The  temple  is  very  simple  in  its  construction.  Fig.  50 
shows  the  working  drawing.  At  the  broad  ends  of  each 
of  the  parts,  i%"  or  16-gauge  brads  are  driven  in  and  the 
1  icads  are  filed  off.  For  heavier  material,  the  brads  should 
be  of  12  or  14-gauge. 

The  parts  when  joined  together  are  for  the  purpose 
of  holding  out  the  edges  of  the  material  being  woven,  to  the 
required  width.  The  means  of  adjusting  the  length  of  the 
temple  are  shown  in  Fig.  51  and  Fig.  52.  The  pai'ts  are 
held  together  by  a  wire  nail  or  wooden  pin,  which  is  forced 
into  the  holes  bored  thru  the  sides  of  the  parts. 

The  pin  is  first  inserted  and  the  temple  placed  on  the 
cloth  a  short  distance  from  the  reed,  with  the  filed  points 
of  the  brads  catching  the  edges  of  the  material,  as  shown 
in  Fig.  52.  AVhen  the  temple  is  pressed  down  in  this  posi- 
tion, it  will  force  out  the  edges  of  the  cloth.  The  small 
metal  band  which  fits  closely,  is  moved  along  so  it  holds 
the  two  parts  together.  After  weaving  from  four  to  six 
inches,  the  temple  is  moved  so  it  again  is  a  few  inches  from 
the  reed. 

To  move,  slip  the  metal  band  so  the  parts  may  swing 
on  the  pin  and  proceed  as  above  described. 

The  Reel 

A  great  many  of  the  different  threads  used  in  weav- 
ing must  be  purchased  in  skeins.  This  fact  makes  the  reel 
almost  indispensable,  in  order  that  the  skeins  may  con- 
veniently be  made  into  bobbins. 


Pig.  53— Pair  of  Reels 


38 


FOOT-POWER  LOOM  WEAVING 


Fig.  54 — Working  Drawing  of  Reel 


TIIK  11KKI.  OR  SWIFT 


39 


Fig.  53  shows  a  pair  of  reels,  mounted  on  a  stand  in 
such  a  manner  that  the  distance  between  them  can  be  reg- 
ulated. Fig.  54  shows  the  working  drawing  of  a  pair  of 
reds.  It  will  be  observed  that  the  upright  of  the  stand 
has  a  slot  cut  in  it  for  the  greater  part  of  its  length.  The 
reels  revolve  on  elongated  axles,  and  may  be  fixed  in  the 
slot  at  any  height,  by  means  of  a  screw  and  collar.  This 
makes  it  possible  to  adjust  them  to  different-sized  skeins. 

Fig.  55  shows  another  kind  of  reel  which  may  be 
fastened  to  a  table.  It  opens  like  an  umbrella  and  may 
be  adjusted  to  skeins  of  various  sixes.  The  small  skein 
allows  only  a  partial  opening  of  the  reel.  The  skein  is 
placed  over  the  reel  while  closed.  The  reel  above  men- 
tioned is  often  called  a  swift. 


Fig.  55 — A  Keel  or  Swift 


CHAPTER  II. 
Pattern  Weaving 


Rag  Rugs 

In  weaving  rag  rugs  the  loom  must  be  threaded  with 
a  four-ply  carpet  warp,  twelve  threads  .to  the  inch.  This 
calls  for  a  number  12  reed.  Since  the  process  of  preparing 
the  loom  has  already  been  described  in  detail,  the  weav- 
ing may  at  once  begin. 

Figures  56  and  5'7  show  what  may  be  done  with  rags. 
The  design  is  kept  in  straight  and  unbroken  lines.  Figs. 
58  and  59  show  what  may  be  done  by  laying  straight  pieces 
of  cloth  to  cover  the  color  used  in  the  body  part.  In  this 
case  the  design  is  also  kept  in  straight,  unbroken  lines. 
The  material  used  in  the  light  colored  rugs  is  unbleached 
muslin,  while  the  colored  borders  are  of  blue  outing  flan- 
nel. The  dark  rug  is  of  Dutch  blue  calico  and  unbleached 
muslin. 

Introducing  Color  as  Shown  in  Figures  58  and  59 

The  cloth  used  for  the  foundation  is  drawn  through 
the  shed  and  beaten.  The  beating  presses  the  strip  of  cloth 
together.  Without  crossing  the  threads,  draw  in  the  short 
pieces  to  be  used  for  the  design  and  wrap  them  around 
the  color  used  for  the  foundation.  To  make  this  as  easv 


as  possible  the  foundation  strip  just  beaten  may  again  be 
pushed  out  into  the  shed  so  that  it  may  easily  be  wrapped 
with  the  color  used  in  the  design. 

After  the  colored  strips  have  been  wrapped  around 
the  foundation  j^olor,  the  beater  is  drawn  forward  and 
presses  the  foimdation  color  with  the  strip  in  the  design 
into  place. 

This  process  is  a  most  interesting  way  of  introducing 
color  when  the  coarser  materials  are  used. 

Before  beginning  to.  design  for  loom  work,  it  is  bet- 
ter to  operate  the  loom  and  know  just  a  little  of  its  pos- 
sibilities. When  this  plan  is  pursued  the  designs  made  are 
usable,  as  the  operator  knows  what  is  possible  and  will 
design  accordingly. 

Plaids 

Figure  60  shows  a  series  of  simple  yet  effective  plaids 
which  may  be  woven  on  a  two-harness  loom.  In  reeling 
the  warp  for  plaids,  a  certain  number  of  threads  of  each 
color  are  reeled  according  to  the  desired  plaid.  When  the 
reeling  is  completed  and  the  warp  is  placed  on  the  warp 
beam,  it  will  be  found  that  the  warp  is  in  bands  of  color. 


40 


PLAIDS  AND  PATTERNS 


K'n  weaving  the  finished  cloth  the  same  colors  as  were 
used  in  the  warp  are  now  used  in  the  woof.  If  ten  threads 
of  a  certain  color  were  used  in  the  warp  then  the  same 
number  of  threads  of  the  same  color  must  be  used  in'  the 
woof.  It  is  in  this  way  that  the  plaids  are  made. 

Pattern  Weaving 

To  the  casual  observer  of  hand-woven  articles,  nothing 
seems  quite  so  impossible  as  many  of  the  complicated  pat- 
terns woven  on  the  ordinary  foot-power  loom.  To  those 
who  have  done  weaving,  the  pattern  work  does  not  seem 
so  wonderful.  It  is  surprising  how  quickly  the  amateur 
weaver  grasps  the  idea  of  pattern  weaving. 

The  plan  here  is  to  present  the  pattern  weaving  in 
the  simplest  possible  way. 

In  all  that  has  gone  before,  nothing  but  plain  weav- 
ing has  been  suggested;  in  other  words,  only  two  sets  of 
heddles  have  been  used  and  only  two  treadles. 

To  do  pattern  weaving,  it  will  be  necessary  to  use  four 
sets  of  heddles  and  four  treadles.  In  Fig.  20  may  be  seen 
tin-  four  sets  of  heddle  sticks  just  behind  the  beater.  Iled- 
dles  are  placed  on  each  pair  of  the  sticks.  They  are  hung 
for  threading  just  as  the  two  sets  are  hung  in  Fig.  '.>'2. 

The  war])  is  reeled  and  placed  on  the  warp  beam  just 
the  same  for  pattern  weaving  as  for  plain  weaving.  Let 
the  pattern  shown  in  Fig.  01  be  the  one  for  consideration. 
This  pattern  is  known  as  the  Monk's  Belt.  The  name, 
no  doubt,  comes  from  its  use  in  weaving  the  belts  used  by 
the  early  monks. 


r 


55 


Fips.  iii;, 


58,  59  —  Woven  Rag  Rugs 


Let  the  material  to  be  used  be  a  four-ply  white  or 
gray  carpet  warp  just  the  same  as  was  used  in  the  rug 
weaving.  In  the  rug  work  only  twelve  threads  to  the  inch 
were  used.  For  this  pattern  twenty  threads  to  the  inch 
will  be  used. 


FOOT-POWER  LOOM  WEAVING 


If  the  article  to  be  woven  is  to  be  about  22  inches  wide 
and  there  are  to  be  20  threads  to  the  inch,  it  Avill  require 
456  threads  to  be  reeled,  including  21  threads  for  the 
selvages.  If  four  threads  are  reeled  at  a  time,  it  will  re- 
quire 114  groups  of  four  threads  to  make  the  required 
number.  The  length  depends  upon  the  weaver. 

Having  placed  the  heddles  on  the  heddle  sticks  and 
the  warp  on  the  beam,  the  worker  is  ready  to  do  the 
threading.  Seated  as  shown  in  Fig.  32,  with  the  pattern 
as  shown  in  Fig.  Gl  at  hand,  the  work  of  threading  is 
begun. 

It  must  be  remembered  that  the  sets  of  heddles  are 
numbered  from  the  front  to  the  back.  That  is,  the  heddle 
sticks  just  in  front  of  the  worker  are  number  1,  the  next 
number  2,  the  next  number  :{,  and  the  farthest  number  4. 
The  row  of  squares  in  the  pattern  marked  No.  1  indicates 
that  all  the  threads  in  this  row  must  be  threaded  in  their 
order  through  the  heddles  on  heddle  sticks  No.  1.  The 
squares  in  the  pattern  in  row  No.  2  indicate  that  these 
threads  are  threaded  in  their  order  through  the  heddles  on 
the  second  pair  of  heddle  sticks.  Three  and  four  follow  in 
the  same  manner. 

Beginning  to  Thread 

Beginning  at  the  right  of  the  pattern,  the  first  thread 
of  the  selvage  is  indicated  by  a  dark  square  in  the  fourth 
row.  This  means  that  the  first  thread  passes  through  the 
<>ye  of  the  first  heddle  on  the  back  or  fourth  row  of  heddles. 
This  heddle  threaded,  it  is  pushed  along  and  the  next 
thread  is  taken  care  of.  The  next  thread  is  on  the  second 


Fif.  60 — Plaids 


THREAPING  A  PATTERN 


Fig.  61— Monk's  Belt.     Draft  of  Pattern 


ro\v  and  is  passed  through  the  eye  of  the  first  liedille  on  the 
second  pair  of  heddle  sticks.  This  heddle  is  now  pushed 
along  and  the  third  thread  is  cared  for.  The  third  thread 
passes  through  the  tirst  heddle  on  (lie  third  pair  of  heddle 
sticks  and  is  pushed  along.  Tlie  fourth  thread  passes 
through  the  eve  of  tin-  tirst  heddle  on  the  first  pair  of 
heddle  sticks  and  is  pushed  along.  The  fifth  thread  passes 
through  the  eve  of  the  second  heddle  on  the  fourth  row. 
This  is  continued  until  the  part  of  the  pattern  marked 
selvage  is  completed.  The  selvage  is  threaded  hut  once,  at 
the  beginning  and  at  the  end,  unless  otherwise  indicated. 

The  threading  of  tin  real  pattern  begins  after  the 
selvage  has  been  threaded.  I'pon  investigation  it  will  he 
toimd  that  :'.('•  threads  make  one  repeat  of  the  pattern. 
Fig.  til.  If  there  are  4.">li  threads  in  all  and  '21  are  used 


for  the  two  selvages,  432  threads  remain.  If  it  requires 
36  threads  to  thwad  the  pattern  once,  432  threads  will 
repeat  the  pattern  twelve  times. 

The  first  thread  of  the  pattern  appears  on  the  fourth 
or  back  row  of  heddles;  the  second  thread  is  on  the  third 
row,  etc.  Continue  until  each  thread  indicated  by  -the 
dark  squares-Is  threaded.  When  this  is  done,  the  pattern 
has  been  repeated  once.  Uohack  to  the  beginning,  which  is 
tli£  first  thread  on  the  fourth  row  after  the  selvage.  In 
this  way  thread  the  pattern  twelve  times.  When  this  is 
done,  there  are  still  twelve  threads  left,  for  the  selvage. 
which  is  threaded  the  same  as  the  selvage  at  the  right  or 
beginning. 

Fig.  62  shows  another  way  of  expressing  the  pattern 
shown  in  Fig.  <U.  There  are  several  other  ways  of  writing 


4 

4 

4 

4 

4 

! 

4 

4 

4 

4 

4 

4 

.4 

3 

3 

3 

3 

3 

3 

3 

3 

^ 

3 

^ 

3 

ii 

£i 

2 

2 

£ 

2 

£2 

2 

2 

2 

2 

2 

1 

1 

t 

.1 

1 

i 

1 

1 

1 

J 

1 

1 

Fig.  G2— Monk's  Bolt.     Another  Way  of  Drafting  Pattern 


44 


FOOT-POWER  LOOM   WEAVING 


patterns,  all  of  which  will  be  given  in  order  that  the 
weaver  may  understand  and  make  use  of  patterns  found 
in  various  books  on  the  subject. 

Fig.  61,  however,  shows  the  way  patterns  are  written 
in  textile  schools. 

Threading  the  Reed 

The  threads  having  been  drawn  through  the  heddles 
in  the  order  indicated  by  the  pattern  are  now  ready  to  be 
drawn  through  the  dents  of  the  reed.  A  No.  20  reed  is 
hung  as  shown  in  Fig.  34.  With  a  reed  hook,  as  shown 
in  Fig.  35,  the  threads  are  drawn  through  the  reed  in  their 
regular  order  as  before  described. 

To  make  the  selvage,  two  threads  of  the  selvage  are 
drawn  through  each  of  the  first  six  dents.  This  uses  the 
twelve  threads  of  the  selvage  as  shown  in  the  pattern. 

If  the  number  20  reed  is  used,  each  thread  of  the 
pattern  passes  through  a  dent  until  the  selvage  is  again 
reached,  when  two  threads  pass  through  each  dent. 

If  a  No.  20  reed  cannot  be  had,  a  No.  10  reed  may 
be  used  by  placing  four  threads  of  the  selvage  through  each 
dent  of  the  selvage  and  two  threads  of  the  pattern  through 
/  each  of  the  pattern  dents. 

Very  often  the  reed  has  many  more  dents  than  is  re- 
quired for  the  number  of  threads  used  in  a  particular  pat- 
tern. In  such  case  care  must  be  taken  to  draw  the  threads 
through  such  dents  as  will  bring  the  weaving  in  the  center 
of  the  reed.  For  example,  if  the  finished  work  is  to  be  22 
inches  wide  and  the  reed  through  which  the  threads  are 


drawn  is  28  inches  long,  it  is  of  the  greatest  importance 
that  the  first  thread  is  drawn  through  the  dent  three 
inches  from  the  right  end  of  the  reed.  After  all  the  threads 
have  been  drawn  through  the  dents,  three  inches  are  left  at 
the  left  end  of  the  reed.  The  ends  now  are  tied  to  the  rod 
which  leads  to  the  cloth  beam,  the  same  as  in  Fig.  36. 

Tying  the  Heddle  Sticks 

Fig.  20  shows  the  position  of  the  heddle  horses.  T\vo 
heddle  horses  are  tied  together  with  a  piece  of  No.  12  block- 
ing cord.  The  cord  is  thrown  over  the  roller  or  the  pulley 
above,  leaving  one  heddle  horse  at  one  side  and  one  at 
the  other,  as  shown  in  Fig.  20. 

The  upper  heddle  sticks  are  tied  to  the  scroll-like  ends 
of  the  heddle  horses,  one  to  each.  To  do  this  take  four 
heddles  the  same  as  were  used  on  the  heddle  sticks.  These 
are  looped  all  at  one  time  over  one  end  of  the  first  heddle 
stick.  This  is  done  by  placing  one  loop  at  the  end  of  the 
heddle  to  one  side  of  tb^  heddle  stick,  as  shown  at  A,  Fig. 
63.  The  other  ends  of  the  heddles  are  placed  through  this 
loop  and  are  drawn  tightly  over  the  heddle  stick.  With 
the  thumb  and  finger,  make  a  loop  in  the  other  end  of 
the  heddles  similar  to  the  loop  in  Figs.  38  and  39.  Slip 
this  loop  over  the  scroll-like  end  of  the  heddle  horse  as 
shown  at  B,  Fig.  63.  Take  four  other  heddles  and  loop  one 
end  over  the  second  heddle  stick  far  enough  from  the  end 
so  that  it  is  directly  under  the  other  scroll-like  end  of  the 
same  heddle  horse,  as  shown  at  C,  Fig.  63. 

With  the  finger  and  thumb,  make  a  loop  in  the  other 


TYING  THE  HEDDLE  STICKS 


45 


end  of  the  heddles  and  slip  this  loop  over  the  other  end  of 
the  heddle  horse,  as  shown  at  D,  Fig.  63.  Heddle  sticks 
1  and  2  are  now  tied  to  the  one  heddle  horse;  see  Fig.  63. 
Take  four  other  heddles  and  loop  them  over  the  third 
heddle  stick  the  same  distance  from  the  end  as  the  first  was 
looped  at  E,  Fig.  64.  Loop  the  other  ends  of  the  heddles 
over  the  scroll-like  eml  of  the  second  heddle  horse,  as 
shown  at  F,  Fig.  64.  The  fourth  heddle  stick  is  tied  in 
the  same  way  and  the  same  distance  from  the  end  as  the 
second  one,  as  shown  at  G  and  H,  Fig.  64.  This  finishes 
the  tying  at  one  end.  Tie  heddle  sticks  at  the  other  end 
to  the  heddle  horses  in  the  same  way.  Heddles  are  used  to 
tie  the  heddle  sticks  to  the  heddle  horses  because  they  are 
all  exactly  the  same  length.  This  is  of  great  importance. 

Tying  Heddle  Sticks  to  Treadles 

To  keep  the  heddle  sticks  even  and  all  together,  tie 
them  together  at  each  upper  end.  From  the  center  of  each 
lower  heddle  stick,  tie  a  loop  of  No.  12  blocking  cord  as 
shown  at  A,  Fig.  37. 

From  each  treadle  allow  two  ends  of  No.  12  blocking 
cord  to  extend  upward.  Beginning  at  the  right,  tie  the 
first  treadle  to  the  first  lower  heddle  stick ;  the  second 
treadle  to  the  second  heddle  stick.  In  the  same  way  tie 
3  and  4.  This  numbers  the  treadles  from  right  to  left  1, 
2,  3,  4.  The  loom  is  now  ready  for  work. 

Weaving  the  Pattern 

Before  beginning  to  weave  the  pattern,  experiment 
by  pressing  down  certain  treadles.  Press  down  treadles  1 


Pig.  63 

Tying  tho  Heddle  Sticks 


Pig.  64 


46 


FOOT-POWER  LOOM  WEAVING 


and  2  at  the  same  time.  Press  down  3  and  4.  Press  down 
1  and  3  by  placing  one  foot  on  1  and  the  other  on  3. 
Press  down  2  and  4.  It  will  he  found  that  1  and  2,  when 
pressed  down,  make  one  part  of  the  pattern,  as  shown  at  A, 
Fig.  65. 

By  pressing  down  treadles  3  and  4,  the  part  of  the 
pattern  shown  at  B,  Pig.  65,  is  made. 

These  two  changes  are  all  that  are  found  in  Fig.  65. 
C,  Fig.  65,  is  the  same  as  A,  only  there  are  fewer  threads 
used  in  weaving  C.  I),  Fig.  65,  is  the  same  as  B;  and  E, 
Fig.  65,  is  the  same  as  A. 

It  was  found  that  when  treadles  1  and  3  were  pressed 
down  exactly  one-half  of  the  threads  were  drawn  down. 
When  2  and  4  were  pressed  down  the  other  half  of  the 
threads  were  drawn'Tftnvn. 


Fig.  65 — Pattern  Woven 

Any  amount  of  plain  weaving  may  he  done  by  press- 
ing down  alternately  1  and  3  at  the  same  time,  and  2  and 
4  at  the  same  time.  This  being  true,  it  is  possible  to  place 


pattern  borders  with  as  much  plain  weaving  in  between 
as  is  desired. 

When  doing  pattern  weaving  the  thread  used  in  the 
pattern  should  be  at  least  as  heavy  as  the  warp. 

FJ*  every  pattern  thread  that  is  placed  in  the  weaving 
there  must  be  what  is  called  a  binding  thread  or  binder. 
The  binding  threads  are  always  put  in  while  the  feet  press 
down  treadles  1  and  3,  and  2  and  4.  It  will  be  remem- 
bered that  it  is  these  two  sets  of  treadles  that  make  the 
plain  or  tabby  weave. 

Let  us  suppose  that  everything  is  ready  to  begin  the 
actual  weaving.  Treadles  1  and  3  are  pressed  down  at 
the  same  time  and  the  shuttle  is  passed  from  the  right 
through  the  shed  to  the  left. 

Treadles  2  and  4  are  next  pressed  down  and  the  shut- 
tle is  passed  through  the  shed  from  the  left  to  the  right, 
In  this  way  as  much  plain  weaving  uiav  be  done  as  is 
desired. 

If  a  table  runner  is  to  lie  made,  about  live  inches  of 
plain  weaving  in  the  beginning  are  sufficient  before  in- 
troducing the  pattern. 

To  Make  the  Border  as  Shown  in  Fig.  65 

When  weaving  a  pattern  there  must  always  be  a 
binder  woven  in  every  time  a  pattern  thread  is  woven.  It 
is  this  hinder  that  holds  the  pattern  thread  in  place.  It 
is  always  well  to  have  the  binder  of  HIKT  thread  than  that 
used  in  the  plain  weave,  or  than  that  used  in  the  pattern, 
as  the  pattern  threads  may  be  more  closely  beaten  together. 


DWTO 


HWH4H- 

•WOO-WOtt 


MAKING  BORDERS 

The  shuttle  containing  the  thread  to  be  used  for  the 
binder  is  now  at  the  right. 

Treadles  1  and  2  are  pressed  down  at  the  same  time 
and  a  pattern  thread  passed  through  the  shed.  When  this 
is  beaten  in  plaecrtreadles  1  and  3  are  pressed  down  and 
a  binder  thread  is  passed  through  the  shed.  Treadles  1 
and  2  are  again  pressed  down  and  a  pattern  thread  passed 
through  the  shed.  Treadles  2  and  4  are  now  pressed  down 
and  a  binder  passes  through  the  shed.  Press  1  and  2 
again  for  the  pattern  thread  and  1  and  3  for  the  binder. 
Press  1  and  2  again,  and  2  and  4  for  the  binder. 

The  weaver  has,  no  doubt,  discovered  by  this  time  thai 
the  pattern  thread  may  enter  the  shed  from  either  the  right 
or  left  while  care  must  be  taken  to  enter  the  binder  from 
the  side  it  should  be  entered  in  order  to  make  the  plain 
weave.  With  the  amateur  it  might  be  well  to  give  the  fol- 
lowing direction  concerning  the  weaving  in  of  the  binder: 
When  the  first  and  third  treadles  are  pressed  down  the 
binder  must  always  enter  from  the  right,  and  when  the 
second  and  fourth  treadles  are  pressed  down  (he  binder 
enters  from  the  left.  The  beginner  when  returning  to  the 
work  often  finds  it  difficult  to  know  which  treadles  to  press 
down  for  the  first  binder  thread.  This  may  be  decided  by 
the  position  of  the  shuttle.  If  the  thread  from  (he  shut  th- 
is to  the  right  then  treadles  1  and  15  are  pressed  down  for 
the  binder.  If  the  thread  is  at  the  left  then  2  and  1  arc 
pressed  down.  In  other  words,  when  the  right  foot  presses 
down  one  of  the  outside  treadles  the  shuttle  must  enter  the 
shed  from  the  right  side  and  when  the  left  foul  presses 


47 


Irf^^TtVfT'*  t1*r^r1^f^*rrn^t'tt' 


Borders 


48 


FOOT-POWER  LOOM  WEAVING 


down  an  outside  treadle  the  slmttle  enters  the  shed  from 
the  left  side.  This  will  aid  the  beginner  in  keeping  track 
of  the  binding  thread. 

Second  Change  in  Pattern 

The  second  change  in  the  pattern  is  shown  at  B,  Fig. 
65.  To  weave  in  the  pattern  threads  for  this  change, 
treadles  3  arid  4  are  pressed  down  each  time.  Three  and 
four  are  pressed  down  and  the  shuttle  containing  the  pat- 
tern thread  is  thrown  through  the  shed. 

The  shuttle  containing  the  binder  is  at  the  right,  there- 
fore treadles  1  and  3  are  pressed  down.  The  shuttle  at 
the  right  means  that  the  right  foot  pressed  down  the  right 
treadle.  If  it  had  been  at  the  left,  then  2  and  4  would  have 
been  pressed  down,  the  left  foot  pressing  down  the  left 
treadle  which  is  the  outside  treadle  to  the  left. 

C,  Fig.  65,  is  the  same  as  A ;  and  D  is  the  same  as  B. 
E  is  the  same  as  A. 

Checked  Paper 

After  the  pupils  have  worked  out  the  design  shown  in 
Fig.  65,  pass  to  them  checked  paper  and  have  them  work 
out  as  many  different  combinations  taken  from  Fig.  65 
as  possible. 

When  this  is  done  the  different  combinations  may  be 
woven  on  the  loom. 

Fig.  66  and  Fig.  67  show  a  few  such  combinations. 

Adaptations 

There  is  very  little  value  in  asking  pupils  to  design 
in  textiles  if  they  know  nothing  about  the  real  working 


of  a  loom.  At  first  thought  one  is  very  likely  to  look  upon 
/loom  weaving  as  a  very  mechanical  line  of  work  because 
of  the  fact  that  the  loom  is  threaded  for  a  certain  pattern. 
This  work  may  be  made  so  if  the  teacher  cannot  see  be- 
yond the  one  little  pattern  for  which  the  loom  is  threaded. 
If,  however,  the  instructor  will  use  the  checked  paper 
freely  and  have  the  pupils  make  as  many  different  com- 
binations of  the  changes  as  shown  in  Fig.  65  as  possible,  a 
great  deal  of  good  may  be  derived  from  the  standpoint  of 
design  and  color.  Attention  has  already  been  called  to  the 
combinations  shown  in  Figs.  66  and  67.  These  interesting 
borders  may  be  woven  into  table-runner  borders,  bags  of 
various  kinds,  pillow  tops,  curtains,  etc. 

In  Fig.  68  is  shown  a  bag  for  fancy  work.  The  ma- 
terial for  the  plain  part  is  of  Ecru  Jap  Six  Xo.  20.  Twenty 
threads  to  the  inch  were  used,  two  threads  passing  through 
each  dent.  The  border  is  of  a  No.  5  mercerized  cotton. 

Fig.  69  shows  a  knitting  bag  in  which  tne  Monk's 
Belt  threading  is  used.  This  bag  was  woven  on  the  same 
loom  as  was  the  fancy  work  bag.  The  change  in  design  is 
due  to  a  change  in  colors  and  the  order  of  treadling  for  the 
stripes.  The  Jap  silk  is  the  same. 

When  one  begins  really  to  work,  the  possibilities  be- 
gin to  dawn. 

Fig.  70  shows  a  pair  of  curtains  woven  of  Egyptian 
twine.  A  number  20  reed  is  used,  one  thread  passing 
through  each  dent.  A  Xo.  3  mercerized  cotton  is  used  for 
the  border,  which  is  another  adaptation  of  the  Monk's 
Belt.  The  binder  is  Egyptian  twine. 


ADAPTING  PATTERNS 


49 


Pig.  68 — Fancy  Work  Bag 

Numerous  all-over  designs  may  he  produced  by  using 
the  threading  draft  shown  in  Fig.  61. 


Fig.  69— Knitting  Bag 

The  Rose  Path 

Figure  71  shows  the  threading  for  the  pattern  called 
the  Rose  Path.  It  is  one  of  the  most  interesting  of  all  the 
simple  threadings  and  may  be  worked  out  by  beginners  in 
a  great  variety  of  ways  and  colors. 


FOOT-POWER  LOOM  WEAVING 


When  threading  any  pattern  always  begin  at  the  right 
and  work  toward  the  left. 

Threading  for  the  Rose  Path 

Thread  first  the  selvage.  There  are  but  eight  threads 
in  a  single  repeat  of  the  pattern.  The  material  to  be  woven 
is  20  inches  wide  plus  the  width  of  the  selvages. 

If  there  are  to  be  20  threads  to  the  inch,  it  will  re- 


se.lva< 


Pig.  70 — A  Pair  of  Woven  Curtains 


Pig.  71 — Rose  Path.     Draft  of  Pattern 

quire  400  threads  plus  sixteen  threads  for  the  selvages, 
making  in  all  416  threads. 

If  four  threads  are  reeled  at  a  time,  it  will  be  neces- 
sary to  reel  104  groups. 

Since  400  threads  are  used  for  the  pattern  and  there 
are  eight  threads  to  each  repeat,  the  pattern  may  be  re- 
peated 50  times. 

The  selvage  is  threaded  the  same  for  the  Rose  Path 
as  was  threaded  for  the  Monk's  Belt. 

The  first  thread  of  the  pattern  is  drawn  through  the 
eye  of  the  first  heddle  on  the  back  row. 

The  second  thread  goes  through  the  eye  of  the  first 
heddle  on  the  third  heddle  sticks. 

The  third  thread  passes  through  the  eye  of  the  first 
heddle  on  the  second  heddle  sticks. 


Pig.  72 — Borders 


Til  HEADING  THE  ROSE  PATH  PATTERN 

The  fourth  thread  passes  through  the  eye  of  the  first 
heddle  on  the  first  heddle  sticks.  From  here  the  threading 
runs  back  to  the  fourth  heddle  sticks. 

The  eighth  thread  of  the  pattern  passes  through  the 
cvc  of  the  second  heddle  on  the  first  heddle  sticks.  This 
finishes  one  repeat.  All  the  other  repeats  are  simply  a 
repetition  of  the  first. 

The  left  selvage  is  the  same  as  the  right. 

If  a  number  20  reed  is  used,  two  threads  of  the  selvage 
are  drawn  through  each  of  the  first  six  dents  and  then  one 
thread  through  each  dent  until  the  left  selvage  is  reached, 
when  two  are  again  drawn  through  each  of  four  dents. 

If  a  number  10  reed  is  used  four  threads  of  the  selvage 
are  drawn  through  a  dent  at  a  time  and  then  two  threads 
through  each  dent  until  the  left  selvage  is  reached. 

The  upper  heddle  sticks  are  tied  to  the  heddle  horses 
Hie  same  as  for  the  Monk's  Belt. 

The  lower  heddle  sticks  are  also  tied  to  the  treadles 
the  same  as  in  the  Monk's  licit. 

Weaving  the  Pattern 

It  must  be  remembered  that  the  treadles  are  always 
numbered  from  right  to  left.  By  pressing  down  treadles 
1  and  3,  one-half  the  threads  are  drawn  down.  Treadles 
'2  and  4  draw  down  the  other  half. 

With  the  shuttles  containing  both  the  pattern  thread 
and  the  binder  at  the  right,  press  down  treadles  1  and  l! 
am.!  pass  the  pattern  thread  through  the  shed. 

Press  down   treadles   1    and  .">  and   through   the  shed 


;JL;Jl.:Jt.-A;A  JV Jl  1VA 


Fig.  73— Borders 


52 


FOOT-POWER  LOOM  WEAVING 


pass  the  binder.  Press  1  and  2  down  again  and  through 
the  shed  pass  the  pattern  thread. 

Press  down  2  and  4  and  pass  the  binder  through  the 
shed. 

To  press  down  the  treadles  in  the  following  order : 


1  and  2 
IB  ahd  4 


Binder 


2  and  3 

2  and  4  Binder 

3  and  4 

ll  and  3  Binder 

3  and  4 

2  and  4  Binder 


1  and  2  2  and  3  1  and  4 

1  and  3  Binder       '2  and  4  Binder       1  and  3  Binder 

1  and  4 

2  and  4  Binder 

2  and  3 

1  and  3  Binder 

When  the  above  has  been  completed  all  the  changes 
possible  in  this  threading  are  shown. 

On  ruled  paper  have  the  piipils  make  as  many  com- 
binations of  the  above  changes  as  possible. 

Figures  72  and  73  show  a  few  of  the  combinations 
woven  into  borders. 

The  Rose  Path  is  full  of  interesting  combinations 
which  may  be  used  in  borders  for  curtains,  bags,  table  run- 
ners and  pillow  tops. 

Finer  Threads  Used  for  Warp 

It  is  not  necessary  to  confine  the  warp  used  to  the 
ordinary  four-ply  carpet  warp.  It  must  be  remembered, 
however,  that  the  finer  the  warp  the  more  threads  there 
•must  be  to  the  inch. 

For  extra  fine  work  the  mercerized  cotton  may  be 
used.  This  is  obtainable  in  various  sizes.  Numbers  3  and 
5  are  most  commonly  used.  Jap  silk  No.  20  makes  a  very 


Pig.  74 — Tie-up,  Using  Lambs 


WEAVING  ROSE  PATH  PATTERN 


53 


good  warp  for  liner  :trt  ides.    Glo  silk  is  also  good.    To  the 
one  interested  there  is  an  unlimited  variety  to  be  had. 

The  Lambs 

In  the  pattern  weaving  up  to  this  time  the  loom  has 
been  tied  up  in  such  a  way  that  it  has  been  necessary  to  use 
both  feet  in  pressing  down  the  treadles  to  bring  about  the 
(desired  changes  in  the  pattern. 

Fig.  74  shows  the  drawing  of  such  parts  of  the  loom  as 
are  concerned  in  pattern  making.  At  A,  Fig.  74,  are 
shown  the  heddle  st  irks  without  the  heddles. 

At  B  are  shown  the  lambs.  The  lambs  are  new  and 
no  reference  up  to  this  time  has  been  made  to  them.  C, 
Fig.  74,  illustrates  six  treadles  instead  of  four  as  shown 
and  described  in  previous  drawings. 

The  working  drawing  of  the  loom  will  show  the  lambs 
held  in  place  at  one  end  by  brackets  screwed  to  the  inner 
right  side  of  the  loom  at  15,  Figs.  74  and  120.  By  the  use 
of  the  lambs,  the  loom  may  be  so  tied  up  that  one  foot  will 
press  down  the  desired  number  of  heddle  sticks  at  one  time. 

The  tying  of  the  upper  heddle  sticks  to  the  heddle 
horses  is  the  same  as  shown  at  A  and  as  previously  de- 
scribed. 

On  examination  of  B  it  will  lie  found  that  instead  of 
the  treadles  being  tied  directly  to  the  lower  heddle  sticks,  it 
is  the  lambs  which  are  tied,  one  to  each  lower  heddle  stick. 

This  tying  of  the  lambs  is  done  exactly  the  same  as  if 
the  treadle  were  being  tied. 

B,  Fig.  74,  shows  holes  bored  in  the  lambs. 


' 


<ixxxxxx(x  xjx*"11" 


Pig.  75 — Curtain  Border.     Adaptation  from  Rose  Path 


54 


FOOT-POWER  LOOM  WEAVING 


When  the  lambs  are  tied  to  the  lower  heddle  sticks,  at- 
tention will  be  given  to  the  treadles.  There  are  six  treadles 
in  all. 

The  two  center  treadles  are  used  in  drawing  down  the 
heddles  that  will  do  the  plain  weaving.  The  other  four, 
two  at  each  side  of  the  center,  are  used  to  make  the  pattern. 
These  are  numberd  from  right  to  left,  1,  2.  Skip  the  two 
center  ones  and  number  the  last  two,  3  and  4. 

If  the  first  change  in  the  pattern  indicates  that  heddle 
sticks  1  and  4  are  to  be  drawn  down,  then  the  lambs  1  and 
4  are  tied  to  the  first  treadle,  as  shown  in  Fig.  68.  When 
treadle  No.  1  is  pressed  down,  it  draws  down  lambs  1  and 
4.  Since  lambs  1  and  4  are  tied  to  the  lower  heddle  sticks 
1  and  4,  the  pressure  must  draw  down  the  heddles. 

If  the  next  change  in  the  pattern  indicates  that  hed- 


dles 2  and  3  are  to  be  drawn  down,  then  lambs  2  and  3  are 
tied  to  treadle  No.  2  as  above  described. 

This  is  continued  until  all  treadles  have  been  tied  to 
draw  down  the  right  heddles.  The  heddles  doing  the  plain 
weaving  are  tied  to  the  two  center  treadles.  The  knot  used 
in  the  tying  has  been  fully  described  in  Figs.  37,  38,  39  and 
40. 

Fig.  75  shows  an  adaptation  of  the  Rose  Path  to  a 
border  which  may  be  used  in  curtains.  A  number  9  reed 
is  used;  one  thread  to  each  dent.  The  woof  and  warp  are 
of  the  same  material.  Care  is  taken  not  to  beat  the  woof 
too  hard.  This  material  resembles  a  coarse  scrim.  A 
number  3  mercerized  cotton  is  used  in  the  border  and  a 
2-ply  thread  is  used  for  the  binder. 


CHAPTER  III 
Colonial  Patterns 


.Many  of  the  patterns  used  by  amateur  weavers  of  to- 
day are  simply  the  old  Colonial  patterns  which  have  been 
handed  down  from  one  generation  to  another. 

It  is  difficult  to  know  just  where  they  first  originated. 
The  names  often  suggest  the  country  from  which  the 
original  pattern  might  have  come.  Such  names  as  the  Olive 
Leaf  and  Bonaparte's  March  may  have  come  from  France; 
the  Queen's  Delight  and  the  Governor's  Garden  may  have 
coine  from  England;  while  the  Whig  Rose  may  have  orig- 
inated in  our  country  as  late  as  the  time  when  the  Whig 
Party  sprung  into  existence.  One  of  the  interesting  fea- 
tures of  this  work,  to  the  amateur  weaver  of  today,  is  not 
to  accept  the  patterns  just  as  they  have  been  handed  down, 
but  to  make  such  changes  as  will  enable  the  finished  pro- 
ducts to  find  an  appropriate  place  in  the  house  furnishings 
of  today. 

The  patterns  which  follow  are  given  as  they  were 
originally  woven,  together  with  such  changes  as  make  them 
desirable  at  this  time. 

Reading  a  Draft 

"Draft"  is  the  term  usually  applied  to  a  threading  as 
shown  in  Figs.  76  and  77.  This,  when  properly  followed, 
produces  the  pattern  as  shown  in  Figs.  78  and  79.  Fig. 


78  shows  the  upper  or  right  side  and  79  shows  the  under 
side  of  the  finished  weaving.  "The  Big  Diamond"  is  the 
particular  name  of  this  pattern. 

The  following  is  a  detailed  description  of  the  pattern : 

First:  In  threading  a  pattern  always  begin  to  read 
at  the  right.  When  the  first  part  is  finished  begin  at  the 
right  of  the  second,  etc. 

Second :  The  pattern  begins  with  the  first  thread  after 
the  right  selvage  and  ends  with  the  last  thread  just  before 
the  left  selvage. 

Third :  Find  the  number  of  threads  to  make  one  re- 
peat. All  threads  within  a  brace  are  to  be  repeated  the 
number  of  times  indicated.  For  example,  4X  means  to 
repeat  the  threading  four  times.  The  actual  number  of 
threads  in  this  pattern  is  1G8.  If  a  number  20  reed  is  used 
this  pattern  may  be  threaded  two  full  times  and  up  to 
the  place  marked  by  the  arrow  the  third  time.  Directly 
following  this  the  selvage  is  threaded. 

The  number  of  threads  to  produce  the  piece  of  cloth 
is  as  follows: 

Two  times  168  threads,  plus  108  threads  I'up  to  ar- 
row), plus  32  threads  for  selvage,  making  in  all  476 
threads.  The  use  of  a  four-ply  carpet  warp  and  a  No.  10 


FOOT-POWER  LOOM  WEAVING 


Fig.  76 — The  Big  Diamond.     Draft  of  Pattern  with  Each  Group  Marked 


reed  and  two  threads  to  the  dent  makes  a  table  runner 
about  24  inches  wide  while  in  the  loom. 

After  the  warp  has  been  reeled  and  placed  on  the 
beam,  the  threading  may  begin. 

Fourth  :  Threading- — The  selvage  is  threaded  as  be- 
fore described.  The  2X  indicates  that  the  threads  within 
the  brace  are  to  be  threaded  twice. 

Beginning  with  the  real  pattern  the  first  thread  passes 
through  the  eye  of  a  heddle  on  the  third  heddle  sticks. 
The  second  thread  passes  through  the  eye  of  a  heddle  on 
the  second  heddle  sticks. . 


The  draft  shows  that  this  combination  is  repeated  four 
times;  this  is  indicated  by  the  brackets  drawn  around  this 
group.  The  next  group  is  made  up  of  the  combination  ol' 
3  and  1,  indicated  by  brackets. 

The  next  threads  run  in  the  combination  of  4  and  1, 
and  the  next  4  and  2,  as  indicated  by  brackets.  The 
threading  is  continued  until  the  left  selvage  is  readied, 
the  brackets  indicating  the  grouping.  'From  this  place 
the  threading  begins  at  the  beginning  of  the  pattern  and  is 
repeated  a  second  time  straight  through  to  the  left  selvage; 
care  must  be  taken  to  thread  the  threads  within  the  brace 


ax 

Fig.  77 — The  Big  Diamond. 


Draft  of  Pattern 


HEADING  A  DRAFT 


57 


the  number  of  times  indicated.  The  second  time  complet- 
ed, the  pattern  is  threaded  a  third  time  up  to  the  threads 
marked  by  the  arrow.  The  left  selvage  threaded  now  com- 
pletes the  threading  of  the  entire  warp. 

The  draft  is  usually  written  as  shown  in  Fig.  77. 

Fifth :  The  threading  completed,  the  threads  are 
drawn  through  the  reed,  two  to  each  dent.  Care  must  be 
taken  to  draw  the  threads  through  the  dents  so  the  thread- 
ing is  in  the  middle  of  the  reed.  This  has  been  explained 
previously. 

The  Tie-Up 

The  upper  heddle  sticks  are  tied  to  the  heddle  horses 
as  before  described. 

The  lower  heddle  sticks  are  tied,  one  to  each  of  the 
lambs  instead  of  directly  to  the  treadles. 

The  treadles  are  tied  to  the  lambs  in  the  order  in- 
dicated by  the  draft. 

The  first  combination  in  the  threading  is  2  and  8, 
therefore  lambs  '2.  and  :'»  are  tied  to  the  first  treadle.  The 
next  combination  is  1  and  :'>,  then  1  and  3  are  tied  to  the 
second  treadle. 

The  third  change  in  the  pattern  is  1  and  4.  It  is  tied 
to  the  fifth  treadle  which  is  next  to  the  last,  skipping  tin- 
two  center  ones. 

The  fourth  combination  is  4  and  1'  which  is  tied  to  the 
last  treadle. 

The  plain  weaving  for  this  pattern  is  done  by  press 

inu  down  heddle  sticks  1  and  l!  at  one  time,  and  '.',  and  4 

*• 

the  next.     This  means  that  lambs  1  and  2  are.  tied  to  the 


y»i«! 


:|Trr;{:!!rti4fi-r"rT-!-^:- 

£lMi:f;tif  i 


is 


;;y?f|:»ji-|g»    » 


j!+H      I  :: 

i  i  3 TIJJ  r  i  i    .ft 
Tr  _LL LLI__  nf  1 1  Tn 


Pig.  78— Right  Side  of  Finished  Weaving 


Fig.  79— Under  Side  of  Finished    Weaving 


58 


FOOT-POWER  LOOM  WEAVING 


right  middle  treadle,  and  3  and  4  are  tied  to  the  left  middle 
treadle. 

Weaving  the  Pattern 

Before  beginning  the  real  pattern  about  one-half  inch 
of  plain  weaving  is  done.  This  is  done  by  pressing  down 
first  one  and  then  the  other  of  the  two  middle  treadles. 

With  the  shuttle  at  the  right,  press  down  the  first 
treadle  which  draws  down  heddle  sticks  2  and  3.  Through 
the  shed  pass  the  first  pattern  thread. 

For  the  binder  press  down  the  middle  treadle  to  the 
right.  For  the  second  pattern  thread  press  down  the  first 
treadle  again.  The  thread  for  the  plain  weaving  is  at  the 
left,  so  the  left  treadle  is  pressed  down  and  the  binder  is 
sent  from  the  left  to  the  right. 

For  the  third  pattern  thread  press  down  the  first 
treadle  again.  The  binder  is  now  at  the  right,  so  the  right 
middle  treadle  is  pressed  down.  This  is  continued  until 
the  first  treadle  is  pressed  down  as  many  times  as  there 
are  threads  indicated  in  the  first  combination.  In  this 
case  there  are  eight,  and  the  binder  is  vised  after  each  pat- 
tern thread.  If  eight  times  makes  too  large  a  color  spot, 
press  down  the  first  treadle  only  six  or  even  four  times. 
The  weaver  must  be  the  judge. 

The  second  change  in  the  pattern  is  1  and  3  in  the 
threading,  therefore  the  second  treadle  which  draws  down 
1  and  3  is  pressed  down  4,  6  or  8  times,  just  as  the  weaver 
desires. 

The  third  change  is  1  and  4,  so  the  fourth  or  next  to 
the  last  treadle  is  pressed  down  4,  6  or  8  times'.  The 


fourth  change  is  2  and  4,  so  the  last  treadle  is  pressed  down 
4,  6  or  8  times. 

It  will  be  observed  that  the  threads  all  come  in  com- 
binations. Sometimes  the  combination  consists  of  only 
two  threads.  When  this  is  true  then  only  two  pattern 
threads  are  run  across. 

The  draft  shown  at  Fig.  77  tells  all  that  must  be 
known  about  a  pattern  to  produce  the  finished  piece  of 
cloth. 

The  Treadling  Draft 

A  "treadling  draft"  for  each  threading  draft  is  not 
necessary  as  the  "threading  draft"  is  used  as  a  "treadling 
draft"  in  the  following  way  : 

Attention  has  already  been  called  to  the  fact  that  the 
threading  is  done  in  groups,  each  small  square  represent- 
ing a  thread.  If  the  combination  3-2  is  used  four  times  in 
succession,  making  eight  threads,  it  means  that  the  treadle 
pulling  down  the  combination  3-2  is  pressed  down  eight 
times  and  a  pattern  thread  carried  across  each  time  with  a 
binder  after  each.  Any  group  of  threads  within  a  brace 
is  repeated  in  the  treadling  as  many  times  as  is  indicated 
by  the  figure  below.  In  this  way  the  threading  draft  be- 
comes the  treadling  draft. 

The  weaver  has  no  doubt  learned  by  this  tinii'  that  all 
horizontal  spacing  is  determined  by  the  number  of  times  a 
certain  combination  is  threaded  and  cannot  be  changed 
after  the  pattern  is  threaded.  The  vertical  spacing  is  con- 
trolled by  the  weaver  and  may  be  changed  at  any  time. 
For  example — if  the  threading  draft  calls  for  the  com- 


THE  THREADING  DRAFT 


59 


biuation  34  four  times  it  means  that  eight  threads  are 
drawn  through  the  heddle  eyes;  in  weaving  the  pattern  it 
means  that  eight  pattern  or  woof  threads  are  passed 
Ihrough  the  shed  made  by  drawing  down  the  combination 
3-4.  If  the  weaver  desires  only  4  woof  threads  the  com- 
bination 34  is  drawn  down  only  four  times  or  it  may  be 
drawn  down  only  once,  thus  changing  the  vertical  spacing 
cadi  time,  but  leaving  the  horizontal  the  same. 

In  this  way  the  threading  draft  becomes  the  treadling 
draft. 

It  is  only  when  the  treadling  is  irregular  that  a  separ- 
ate draft  is  necessary. 

The  drafts  are  all  written  so  that  the  pattern  begins 
and  ends  in  a  convenient  place,  making  it  possible  to  sew 
i \vo  strips  together.  If  the  draft  is  that  for  a  table  runner 
or  pillow  top  the  entire  draft  is  given,  showing  both 
borders. 

There   is   little   or   no   difficulty    by    comparing   the 


threading  draft  with  the  finished  pattern  to  find 
the  parts  of  a  draft  that  will  produce  certain  parts 
of  the  finished  pattern.  The  repeats  marked  7X,  etc.,  leads 
one  at  once  to  what  the  Kentucky  women  call  the  "Table" 
in  the  finished  pattern.  Locating  any  one  part  of  the  de- 
sign is  a  guide  to  all  the  other  parts. 

It  must  be  remembered  that  the  pattern  may  be  woven 
by  using  only  four  treadles,  one  tied  to  each  heddle  stick  as 
described  in  the  Monk's  Belt  and  the  Rose  Path. 

In  case  each  heddle  stick  is  tied  to  a  treadle,  the  pat- 
tern is  produced  by  pressing  down  treadles  2  and  3  as 
many  times  as  desired.  Then  1  and  3  as  many  times  as  de- 
sired, 1  and  4  and  then  2  and  4. 

The  plain  weaving  is  done  by  pressing  down  treadles 
1  and  2  at  one  time,  and  treadles  3  and  4  at  another. 

The  patterns  which  follow  will  be  described  in  as 
brief  a  way  as  possible,  because  all  tying  and  treadling  art- 
read  in  the  draft  as  above  described. 


Fig.  80 — The  Double  Snowball.     Draft  of  Pattern 


60 


FOOT-POWER  LOOM  WEAVING 


Pig.  81 — Finished  Weaving  Using  Double  Snowball  Pattern 

x  Fig.  80  shows  the  original  draft  for  the  Double  Snow- 
ball, and  Fig.  81  shows  the  woven  pattern  when  the  draft 
shown  in  Fig.  80  is  followed.  It  requires  396  ends  for  one 
repeat  of  the  pattern. 


Where  to  Begin 

Owing  to  the  width  of  looms  it  is  necessary  to  weave 
counterpanes  and  couch  covers  in  two  strips,  to  be  sewed 
together.  In  all  drafts  care  is  taken  to  begin  the  threading 
so  two  edges  may  be  sewed  together  to  make  one  complete 
pattern,  just  the  same  as  figured  carpets  are  woven  and 
sewed. 

The  tie-up :    Each  lower  heddle  stick  is  tied  to  a  lamb. 

The  lambs  are  tied  as  follows: 

1  and  4  to  the  first  treadle. 

1  and  3  to  the  second  treadle. 

2  and  3  to  the  third  treadle. 

2  and  4  to  the  fourth  treadle. 

The  plain  weave  is  done  by  tying  lambs : 
1  and  2  to  the  right  middle  treadle. 

3  and  4  to  the  left  middle  treadle. 

Figure  83  shows  an  adaptation  of  the  Double  Snow- 
ball. It  is  not  difficult  to  find  the  part  of  the  pattern  used 
in  the  original  pattern.  This  particular  part  when  used 
alone  as  in  Fig.  82  is  often  called  the  Dogwood  Blossom. 

Selvage 


Fig.  82 — Adaptation  from  the  Double  Snowball. 


BEGINNING  TO  WEAVE 

Figure  82  shows  the  draft  for  the  adap- 
tation and  is  read  as  follows: 

First :  704  threads  required  for  the  en- 
tire pattern. 

Second:  Each  lower  heddle  stick  is 
tied  to  a  lamb. 

Third  :    The  lambs  are  tied  as  follows  : 

1  and  4  to  the  first  treadle. 

1  and  3  to  the  second  treadle. 

2  and  3  to  the  third  treadle. 

1'  and  4  to  the  fourth  treadle. 

The  plain  weave  is  done  by  tying  laint's  : 

1  and  2  to  the  right  middle  treadle. 

3  and  4  to  the  left  middle  treadle. 

The  material  is  a  two-ply  unbleached 
cotton  warp. 

I'se  a  No.  15  reed,  placing  two  threads 
to  a  dent. 

The  material  used  in  the  pattern  may 
!•(•  n  colored  four-ply  carpet  warp  or  a  No.  3 
mercrri/.cd  cotton.  The  two-ply  carpet  war)) 
may  be  used  for  the  binder  or  a  fine  mercer- 
il-ed  thread  may  be  used. 

When  weaving  the  pattern,  the  part 
within  the  brace  is  woven  as  many  times  as 
is  indicated  by  the  figure.  For  example,  the 
iirace  marked  IX  means  all  within  the  brace 
is  woven  seven  times  before  proceeding  with 
the  remainder  of  the  pattern. 


61 


»x0xoxox0x0x0xox« 


m 


Kit 


-Right  Side  of  Table  Runner 


Pig.  84— Under  Side  of  Table  Runner 


FOOT-POWER  LOOM  WEAVING 


Fig.  86 — Finished  Weaving  of  Block  Work 


Figure  81  shows  the  original  pattern,  while  Figs.  83 
and  84  show  a  table  runner  taken  from  Fig.  81. 

This  pattern  is  often  used  for  pillow  tops.  In  such  a 
case  a  square  is  woven. 

Fig.  85  shows  a  draft  taken  from  wrhat  is  known  as 
Block  Work,  the  original  of  which  is  shown  in  Fig.  86. 
This  design,  as  well  as  many  of  the  old  Colonial  patterns, 
is  full  of  suggestions  for  pillow  tops,  table  runners  and 
even  counterpanes. 

Figure  87  shows  a  pillow  top  taken  from  Fig.  86. 

There  will  be  no  difficulty  in  locating  Fig.  87  in  Fig. 
86. 

Figure  88  shows  a  table  runner  taken  from  Fig.  86. 

Figure  88  was  woven  on  the  same  loom,  with  the  same 
threading  as  the  pillow  top  shown  in  Fig.  87. 

Reading  of  the  Draft,  Fig.  76 

No.  10  reed,  two  threads  to  a  dent. 

456  threads  four-ply  carpet  warp  required. 

Each  lower  heddle  stick  is  tied  to  a  lamb. 


Fig.  85— The  Block  Work.     Draft  of  Pattern 


READING  DRAFT  OP  FIG.  76 


63 


The  lambs  are  tied  as  follows : 

1  and  4  to  the  first  treadle. 

3  and  4  to  the  second  treadle. 

2  and  3  to  the  third  treadle. 
1  and  2  to  the  fourth  treadle. 
For  plain  weave  tie : 

1  and  3  to  the  right  middle  treadle. 

2  and  4  to  the  left  middle  treadle. 


8'JJJ     •     •     •     i     i     i     i     •     i     ' 

^rtriririrtriririrtiYi 


Fig.  87— Finished  Pillow  Top 

Observe  that  the  last  thread  of  the  right  selvage  is 
omitted  in  the  second  threading.  This  is  don,-  to  avoid 
two  threads  eojning  together  on  the  same  heddle  stick. 


Fig.  88 — Table  Runner  Woven  from  Block  Work 


64 


FOOT-POWER  LOOM  WEAVING 


!•••_•••    •    •    •    •    •••••••••••••••••••    •    •    •    ••••••••••••••    •    •    ••••••••! 


HUyHHHH' 


Selvage  T>or-der- 


2x 


Pig.  89— The  Chariot  Wheel.     Draft  of  Pattern 


Chariot  Wheel 

Figure  89  shows  a  draft  taken  from  what  is  known 
as  the  Chariot  Wheel  pattern. 

Figure  90  shows  a  pillow  top  woven  on  a  loom  thread- 
ed with  Fig.  89. 

Figure  91  shows  the  under  side  of  Fig.  90. 

Very  often  the  under  side  of  the  weaving  is  more  at- 
tractive than  the  upper  which  is  the  right  side.  The  de- 


Fig.  90— Pillow  Top  Woven  from  Chariot  Wheel  Pattern 


sign  of  the  under  side  is  usually  more  broken,  thus  mak- 
ing it  many  times  more  desirable  from  an  art  standpoint. 

When  making  a  pillow,  let  one  side  of  the  pillow  show 
the  right  side  and  the  other  the  under  side  of  the  weaving. 

Figure  92  shows  a  counterpane,  using  the  draft  shown 
in  Fig.  89. 

Reading  the  Draft,  Fig.  89 

Material :    A  two-ply  unbleached  carpet  warp. 

Number  15  reed,  placing  two  threads  to  a  dent. 

Woof:  Any  color  of  wool,  four-ply  carpet  warp  or 
No.  3  mercerized  cotton ;  672  threads  required  to  complete 
the  threading. 

The  lower  heddle  sticks  are  tied  one  to  each  lamb. 

The  lambs  are  tied  as  follows : 

1  and  3  to  the  first  treadle. 

2  and  3  to  the  second  treadle. 

2  and  i  to  the  third  treadle. 
1  and  4  to  the  fourth  treadle. 
For  the  plain  weave : 

1  and  2  tie  to  the  right  middle  treadle. 

3  and  4  tie  to  the  left  middle  treadle. 


READING  DRAFT  OF- FIG.  SO 


b'5 


t  W  H  ft  \\1\\1\ 
,v  «  U  «  u  ••  


>^&?&<£<wSiS 

I     ^^V^       j\      i  ff  ^  M  ^^  ri         MIB    **/\  "_«i«   **jNVIIIH 


Fig.  91— Under  Side  of  Pillow 

When  threading  the  <]|-;il't  as  shown  in  Fig.  80,  thread 
ih«-  right  selvage  first  and  then  the  border,  repeating  the 
threads  within  the  brace  the  number  of  times  indicated. 
The  real  pattern  begins  just  after  the  right  border.  This 
part  of  the  draft  is  threaded  four  times  before  tli reading 
the  left  border  and  the  left  selvage. 

Figure  it.",  shows  a  pair  of  curtains,  the  border  of 
which  is  an  adaptation  of  the  "Chariot  Wheel." 

To  the  one  truly  interested  there  is  no  limitation  of 
adaptations/  Whole  bedroom  sets  may  lx>  woven,  carrying 


Pig.  92— Counterpane  Woven  from  Chariot  Wheel  Pattern 


FOOT-POWER  LOOM  WEAVING 


the  "Chariot  Wheel"  into  the  various  borders.  Such  a  set 
includes  the  counterpane,  curtains,  dressing  table  mat, 
valence  and  even  the  rug  for  the  floor,  which  may  be  woven 
of  coarse  materials,  carrying  out  the  unity  of  design. 

This  particular  pair  of  curtains  is  woven  of  Egyptian 
twine.  The  border  is  of  two  shades  of  blue  No.  3  mer- 
cerized cotton. 

The  loom  was  threaded  30  ends  to  the  inch.  A  num- 
ber 15  reed  was  used,  drawing  two  threads  through  each 
dent.  This  does  not  give  the  scrim  weave  as  shown  in  the 
curtains,  Figs.  70  and  75,  but  more  of  a  marquisette  weave, 
which  is  very  pleasing. 

When  weaving  the  border  use  only  the  treadles  which 
will  raise  and  lower  the  sets  of  thread  that  will  produce 
the  one  row  of  wheels.  It  is  well,  however,  to  weave  in 
a  narrow  stripe  below  and  above  the  principal  border 
stripe,  which  in  this  case  is  the  row  of  wheels.  If  the 
narrow  bands  are  to  be  used  across  the  top  great  care 
must  be  exercised  to  get  the  separate  bands  exactly  the 
same  distance  from  the  top  and  at  the  same  time  make 
the  borders  at  the  bottom  come  together.  If  the  bands 
across  the  top  are  omitted  the  weaving  of  curtains  is  great- 
ly simplified.  It  is  not  necessary  to  be  limited  by  ma- 
terials, as  almost  any  threads  may  be  woven  into  most  at- 
tractive fabrics. 

In  weaving  curtains  it  is  always  well  to  make  a  liberal 
allowance  for  shrinkage.  Almost  all  materials  whether  of 
wool,  cotton  or  linen  will  shrink. 


Pig.  93 — Curtain  Woven  with  Border  from  Chariot  Wheel 


ORANGE  PEEL  PATTERN 


The  Orange  Peel 

Attention  has  not  been  called  to  the  fact  that  in  many 
cases  the  original  woven  pattern  appears  without  the  draft 
for  the  same.  Fig.  94  shows  the  original  pattern  of  the 
Orange  Peel,  while  Fig.  95  shows  the  draft  for  Fig.  96 
and  Fig.  !*7.  Should  a  counterpane  of  this  pattern  be  de- 
sired the  threading  is  done  the  same  as  shown  in  Fig.  95, 
omitting  the  left  border  each  time.  The  number  of  times 
the  pattern  is  repealed  depends  upon  the  width  of  the  loom 
and  also  the  width  of  the  couch  cover  or  counterpane  de- 
sired. It  must  be  remembered  that  the  strips  are  sewed 
together  and  must  be  made  to  match. 

The  weaver  will  have  gained  by  this  time  sufficient 
experience  to  make  the  changes  to  meet  the  demands. 
Originality  is  one  of  the  chief  aims  of  the  work. 

The  draft  reads  as  follows: 

Material :    Two-ply  unbleached  carpet  warp. 


Fig.  94 — Original  Pattern  from  Orange  Peel 

.Border     Selvage 


6X  2X 

Beginning  of  "Pattern 


omit  this  thread 
first  repeat  of 


borderX 


Kig.  95— The  Orange  Peel.     Draft  of  Pattern 


68 


FOOT-POWER  LOOM  WEAVING 


Fig.  96 — Pillow  Top  Woven  from  Orange  Peel 

Reed  number  15,  placing  two  threads  to  a  dent. 

The  material  used  in  the  pattern  (the  woof)  may  be 
any  of  the  three  following  materials: 

Wool,  four-ply  carpet  warp,  or  No.  '•>  mercerized 
cotton. 

Use  a  finer  thread  for  the  binder. 


606  threads  for  the  complete  pattern. 

Each  lower  heddle  stick  is  tied  to  a  lamb. 

The  lambs  are  tied  as  follows : 

2  and  4  to  the  first  treadle. 

2  and  3  to  the  second  treadle. 

1  and  3  to  the  third  treadle. 

1  and  4  to  the  fourth  treadle. 


Fig.  97 — Under  Side  of  Pillow  shown  in  Fig.  96 


THE  GOVERNOR'S  GARDEN 


69 


Selvage 


2X 


Fig.  98 — The  "Governor's  Garden."     Draft  of  Pattern 


For  the  plain  weave  tie : 

1  and  2  to  the  right  middle  treadle. 

3  and  4  to  the  left  middle  treadle. 

This  pattern  lias  a  few  irregularities.  First  tin- 
sels-age is  threaded  and  then  the  right  border.  The  pat- 
tern  is  then  threaded  live  times  from  one  arrow  to  the 
other.  After  the  tilth  threading  the  threads  within  the 
brace  marked  "thread  once  before  last  border"  are  taken 
care  of.  After  this  the  last  border  is  threaded,  omitting 
the  first  thread  in  the  first  repeat  of  the  bonier.  This  is 
done  to  avoid  two  threads  coming  together  on  the  first 
heddle  stick.  The  threading  of  the  left  l>ordcr  completes 
the  pattern. 


Pig.   99 — Original   Pattern  of  Governor's  Garden 


FOOT-POWER  LOOM  WEAVING 


*:^^ 


Fig.  100 — Pillow  Top  Woven  from  Governor's  Garden 

It  will  be  observed  that  the  right  and  left  edges  are 
not  the  same,  only  half  the  pattern-  showing  on  the  right 
edge  and  almost  a  complete  pattern  on  the  left  edge. 

Figure  96  shows  the  "Orange  Peel"  worked  out  in  a 


sofa  pillow  top.     The  draft  shown  at  Fig.  95  will  make, 
this  pillow  top. 

Figure  97  shows  the  under  side  of  Fig.  96. 

Governor's  Garden 

Figure  98  gives  the  draft  for  a  pillow  top  or  table 
runner  taken  from  the  "Governor's  Garden"  shown  in 
Fig.  99. 

It  is  difficult  to  recognize  Figs.  97  and  98  as  having. 
been  taken  from  Fig.  99. 

It  is  quite  wonderful  what  even  the  amateur  weaver 
will  be  able  to  do  after  a  somewhat  limited  experience  in 
actual  work  with  the  loom. 

Any  draft  is  full  of  suggestions  for  borders,  curtains, 
table  runners,  complete  couch  covers,  pillow  topvS,  counter- 
panes, etc. 

The  "Governor's  Garden"  is  the  longest  of  the  drafts 
and  is  threaded  just  as  given  in  Fig.  98. 

The  draft  reads  as  follows : 

Materials:    Two-ply  unbleached  carpet  warp. 

Reed :    Number  15,  placing  two  threads  to  a  dent. 

The  material  in  the  pattern  (woof)  may  be  any  of 
the  materials  before  mentioned. 

Use  716  threads  for  the  complete  pattern.  Each  lower 
heddle  stick  is  tied  to  a  lamb. 

The  lambs  are  tied  as  follows : 

1  and  4  to  the  first  treadle. 

1  and  2  to  the  second  treadle. 

2  and  3  to  the  third  treadle. 

3  and  4  to  the  fourth  treadle. 


BONAPARTE'S  MARCH  PATTERN 


For  the  plain  weave  tie: 

1  and  3  to  the  right  middle  treadle. 

2  and  4  to  the  left  middle  treadle. 

Figure  100  shows  the  right  side  of  the  finished  weav- 
ing, while  Fig.  101  shows  the  under  side. 

The  border  on  the  front  and  back  edges  of  any  weav- 
ing is  always  taken  care  of  by  weaving  the  repeat  of  the 
border  as  many  times  as  is  suggested  in  the  draft. 

Bonaparte's  March 

Figure  103  shows  the  woven  sample  of  Bonaparte's 
March.  It  was  woven  by  following  the  draft  shown  at 
Fig.  102.  In  weaving  the  old-time  counterpanes  it  was 
necessary  to  weave  them  in  two  strips  because  of  the 
width  of  the  looms  at  that  time.  In  order  that  the  two 
strips  might  be  sewed  together,  the  pattern  was  begun  in 
the  center  of  some  particular  figure  found  in  the  pattern. 

Only  four  threads  were  used  in  the  selvage  along  the 
left  edge.  The  border  was  usually  placed  on  the  right  edge. 

Borders 

Borders  are  made  by  repeating  certain  sets  of  threads 
a  number  of  times.  Any  one  at  all  familiar  with  pattern 
weaving  can  readily  understand  (lie  making  of  borders. 

Figure  104  shows  a  draft  taken  from  draft  102.  It  is 
that  part  of  the  draft  that  will  make  an  interesting  pillow 
top. 


Fig.  101— Under  Side  of  Pillow  Shown  in  Fig.  100 

Figure  102  reads  as  follows: 
Count  the  number  of  threads  in  the  pattern. 
lOach  lower  heddle  stick  is  tied  to  a  lamb. 
The  lambs  are  tied  a.s  follows: 

1  and  4  to  the  tirst  treadle. 

2  and  3  to  the  second  treadle. 
1  and  3  to  the  third  treadle. 


FOOT-POWER  LOOM  WEAVING 


Selva* 


5C 


7x 


9X 


£x 


7x 

Pig.  102 — Bonaparte's  March.     Draft  of  Pattern 


7x 


i  iQnuiii  ifn  imuiMf  irii 


iifig    "\\\    :!i 

-'tfii'ii  «  II"'1"  i'.i'Jl"l"ClUlCI 

"" 


"."-'1."-1!-ll-"-M-ll-ll-"iHiiCiMMi 

' 


'i:'' 


Pig.  103 — Original  Pattern  of  Bonaparte's  March 

el 


It  will  be  observed  that  only  three  treadles  are  neces- 
sary to  weave  the  pattern. 

The  plain  weave  is  done  by  tying  lambs : 

1  and  2  to  the  right  middle  treadle. 

3  and  4  to  the  left  middle  treadle. 

The  material  may  be  any  of  the  material  before  men- 
tioned. 

Figure  104  may  be  read  and  the  treadles  tied  the  same 
as  described  in  Fig.  102. 

Snail's  Trail 

Figure  105  shows  the  draft  for  the  pattern  shown  in 
Fig.  106.  This  pattern  is  often  called  the  "Snail's  Trail" 
and  "Cat's  Paw." 

Each  lower  heddle  stick  is  tied  to  a  lamb. 


ftfcfclf 


1 


7x 


»9x 


7x 


Pig.  104  —  Draft  of  Pattern  for  Pillow  Top.     Adaptation  of  Bonaparte's  March 


SNAIL'S  TRAIL  AND  THE  BLOOMING  FLOWER 


73 


The  lambs  are  tied  as  follows: 

1  and  4  to  the  first  treadle. 

2  and  4  to  the  second  treadle. 
2  and  3  to  the  third  treadle. 
1  and  3  to  the  fourth  treadle. 

The  plain  weave  is  done  by  tying  lambs : 
1  and  -  to  the  right  middle  treadle. 
:'.  and  4  to  the  left  middle  treadle. 
Press  the  treadles  in  the  order  indicated  by  the  draft 
and  as  before  described. 

The  Blooming  Flower 

"The  Blooming  Flower"  is  a  pattern  often  used  for 
counterpanes.  Fig.  107  shows  the  draft  while  Fig.  108 
shows  the  pattern  woven  by  following  the  draft.  Fig.  107. 
Only  four  threads  are  suggested  in  the  selvage.  This  will 
permit  of  the  sewing  together  of  the  two  strips. 

The  material  is  usually  a  two-ply  carpet  warp  for 
the  warp  and  wool  for  the  woof.  Each  lower  heddle  stick 
is  tied  to  a  lamb. 


Fig.  106— Original  Pattern,  Snail's  Trail  and  Cat's  Paw 

For  the  pattern  the  lambs  are  tied  as  follows: 
1  and  1  to  the  first  treadle. 

1  and  ::  to  i  he  second  treadle. 

2  and  3  to  the  third  treadle. 

Border      5elvgge 

14- 


7x 


_L 

± 

r 

i 

• 

• 

: 

i 

• 

| 

i 

i 

• 

i 

• 

i 

AT 

Fig.  105 — The  Snail's  Trail  and  Cat's  Paw.     Draft  of  Pattern 


FOOT-POWER  LOOM  WEAVING 


Fig.  107 — The  Blooming  Flower.    Draft  of  Pattern 


Fig.  108 — Original  Pattern,  Blooming  Flower 


2  and  4  to  the  fourth  treadle. 

The  plain  weaving  is  done  by  tying  lambs ; 

1  and  2  to  the  right  middle  treadle. 

2  and  4  to  the  left  middle  treadle. 


Pine  Knot 

Figure  109  shows  the  draft  for  "The  Pine  Knot"  and 
Fig.  110  shows  the  woven  sample.  This  pattern  lends 
itself  to  several  interesting  combinations. 

If  the  weaver  has  read  what  has  gone  before  there 
will  be  no  difficulty  by  this  time  to  select  such  parts  of 
the  pattern  as  are  desired. 

The  draft  reads  as  follows : 

Tie  each  lower  heddle  stick  to  a  lamb.  The  lambs 
are  tied  as  follows : 

2  and  3  to  the  first  treadle. 

2  and  4  to  the  second  treadle. 
1  and  4  to  the  third  treadle. 
1  and  3  to  the  fourth  treadle. 

The  plain  weave  is  done  by  tying  lambs : 
1  and  2  to  the  right  middle  treadle. 

3  and  4  to  the  left  middle  treadle. 

It  must  not  be  forgotten  that  the  lambs  are  not  abso- 
lutely necessary.  Each  treadle  may  be  tied  directly  to 
the  lower  heddle  stick.  In  such  a  case  only  four  treadles 
are  used  but  two  are  pressed  down  each  time  a  .thread  is 
passed  through  the  shed.  This  has  already  been  described. 


PINE  KNOT  AND  FEDERAL  KNOT  PATTERNS 


Selvaoe 


1 


Fig.  109 — Pine  Knot.     Draft  of  Pattern 


Pig.  110 — Original  Pattern,  Pine  Knot 


Pig.  Ill— Federal  Knot.     Draft  of  Pattern 


76 


FOOT-POWER  LOOM  WEAVING 


Federal  Knot 

Fig.  Ill  shows  the  draft  for  the  "Federal  Knot"  and 
Fig.  112  shows  the  woven  sample.  This  pattern,  the  same 
as  those  previously  described,  is  full  of  suggestions. 


Fig.  112— Original  Pattern,  Federal  Knot 

The  material  before  mentioned  may  again  be  used  in. 
this  pattern. 

The  draft  reads  as  follows  : 

Tie  each  lower  heddle  stick  to  a  lamb. 

The  lambs  are  tied  as  follows : 

1  and  4  to  the  first  treadle. 

3  and  4  to  the  second  treadle. 

1  and  2  to  the  third  treadle. 


2  and  3  to  the  fourth  treadle. 

The  plain  weaye  is  done  by  tying  lambs : 

1  and  3  to  the  right  middle  treadle. 

2  and  4  to  the  left  middle  treadle. 

Wheel  of  Fortune 

Figure  113  shows  the  draft  for  what  is  known  as  the 
"Wheel  of  Fortune,"  sometimes  called  the  "Wheel  of 
Time." 

The  draft  reads  as  follows:  Material  2,  3,  or  4-ply 
unbleached  carpet  warp  for  the  warp. 

The  material  used  in  the  pattern  (the  woof)  may  be 
any  one  of  the  materials  already  mentioned. 

For  2-ply  carpet  warp  use  a  No.  15  reed,  for  3-ply  use 
a  No.  12  reed,  for  4-ply  use  a  No.  10  reed. 

It  requires  2G2  threads  for  one  repeat  of  the  pattern. 
The  selvage  requires  eight  threads;  and  the  border  for  a 
counterpane,  160  threads.  If  a  pillow  top  is  to  be  made 
the  border  should  be  made  narrower  and  on  both  edges. 
The  pattern  begins  at  the  first  arrow  just  after  the  selvage 
and  ends  at  the  other  arrow  just  before  the  border. 

Tie-up :    Each  lower  heddle  stick  is  tied  to  a  lamb. 

The  lambs  are  tied  as  follows : 

2  and  4  to  the  first  treadle. 

2  and  3  to  the  second  treadle. 

1  and  3  to  the  third  treadle. 

1  and  4  to  the  fourth  treadle. 

For  the  plain  weave  tie: 

1  and  2  to  the  right  middle  treadle. 


IRISH  CHAIN  AND  WHEEL  OF  FORTUNE 


3  and  4  to  the  left  middle  treadle. 

The  weaver  must  always  remember  that  a  great  deal 
of  judgment  must  be  exercised  when  doing  the  weaving. 

Four  treadles  may  be  used,  one  tied  to  each  lower 
treadle  stick.  In  such  a  case  two  treadles  must  be  pressed 
down  at  the  same  time.  Almost  any  kind  of  material  may 
be  adapted  to  the  work.  When  the  material  is  coarse  there 
must  be  fewer  threads  to  the  inch. 

Figure  114  shows  the  finished  weaving. 

Irish  Chain 

The  "Irish  Chain."  sometimes  called  the  "Nine 
Win-els."  and  sometimes  the  "Nine  Snow  Balls,"  is  shown 
in  Fig.  116. 

The  draft  for  the  "Irish  Chain"  is  shown  in  Fig.  115. 

The  draft  reads  as  follows : 

Material :     Two-ply  unbleached  warp.     The  material 


Fig.  114— Wheel  of  Fortune.    Original  Pattern 

used  in  the  pattern   (woof)   may  be  any  one  of  the  ma- 
terials already  mentioned. 

.Selvage 


m 


R. 

Iff 


Border 


I  Ox 

Fig.  113— Wheel  of  Fortune.     Draft  of  Pattern 


3x 


78 


FOOT-POWER  LOOM  WEAVING 


Fig.  115— The  Irish  Chain.     Draft  of  Pattern 


Fig.  116 — Irish  Chain.     Original  Pattern 


MIIIIHI  Xirwimil  D£»K  iimiiii 


IIIMKII   XIE   Mlllllll    XIJC  IIIIIHPI 


IE  Illllllll  X I  £  Illllllll  XIX  Illllllll 


I A  IlllNHI  DCIJC  Illllllll  YiK  iiiiiiill  3C1JC  Illllllll  Xi 


if.  Illllllll  Y  i  XT  Illllllll  TtlJC  111111111  Tf  1 1C  Illllllll 


Fig.  118 — Rings  and  Chains.     Original  Pattern 


Border 


z 
^ 


Fig.  117 — Draft  of  Pattern.     Rings  and  Chains 


RINGS  AND  CHAINS  PATTERN 


79 


Number  15  reed,  placing  two  threads  to  a  dent,  288 
threads  required  to  complete  one  repeat  of  the  pattern. 

The  Tie-Up 

The  lower  noddle  sticks  are  tied  one  to  each  lamb. 
The  lambs  are  tied  as  follows: 

-  and  3  to  the  first  treadle. 

2  and  4  to  the  second  treadle. 

1  and  1  to  the  third  treadle. 

1  and  3  to  the  fourth  treadle. 

For  the  plain  weave: 

1  and  2  ta  the  right  middle  treadle. 

-  and  4  to  the  left  middle  treadle. 

Figure  118  shows  the  original  pattern  woven  by  fol- 
lowing the  draft  shown  in  Fig.  117,  without  the  border.  A 
counterpane  or  couch  cover  is  not  quite  complete  if  left 
without  a  border.  Fig.  119  shows  a  counterpane  with 
border.  Fig.  1 17  shows  the  complete  draft  for  the  same. 

The  same  draft  may  be  used  for  a  pillow  top  or  table 
runner  by  threading  the  border  fewer  times  and  repeating 
it  and  the  selvage  along  the  left  side. 

The  amateur  weaver  has  no  doubt  discovered  by  this 
time  that  any  border  consists  only  of  a  certain  number  of 
threads  of  each  combination  repeated  a  number  of  times, 
the  number  of  repeats  depending  entirely  upon  the  width 
of  the  border  desired. 

The  front  border  is  always  produced  by  following  the 
draft  shown  within  the  brace  marked  "border,"  repealing 
the  weaving  as  many  times  as  is  indicated. 


80 


FOOT-POWER  LOOM  WEAVING 


I 


Upon  examination  it  is  found  that  to  produce  the  fin- 
ished piece  of  cloth  the  pattern  treadles  are  tied  as  follows : 

The  lower  heddle  sticks  are  tied  one  to  each  lamb. 

Treadles  1  and  2  are  tied  to  the  first  lamb. 

Treadles  1  and  4  are  tied  to  the  second  lamb. 

Treadles  3  and  4  are  tied  to  the  third  lamb. 

Treadles  2  and  3  are  tied  to  the  fourth  lamb. 

Plain  weave : 

Treadles  1  and  3  are  tied  to  the  right  middle  treadle. 

Treadles  2  and  4  are  tied  to  the  left  middle  treadle. 

The  materials  used  are  similar  to  those  previously 
suggested  for  other  patterns. 

Figure  120  shows  a  pair  of  curtains  woven  of 
Egyptian  twine.  The  border  is  an  adaptation  of  "Rings 
and  Chains."  The  part  used  in  the  border  may  easily  be 
found  in  the  completed  counterpane,  Fig.  119.  The  thread- 
ing for  the  border  in  the  curtains  is  the  same  as  shown  in 
Fijr.  117.  In  weaving  only  the  treadles  are  used  that  will 

O  Or 

produce  the  borders  shown  in  the  curtains. 

Old  Quilt  Pattern 

The  finished  counterpane  shown  in  Fig.  121  was 
woven  by  following  the  draft  shown  in  Fig.  122. 

The  name  of  this  particular  pattern  is  unknown  to 
the  author.  The  draft  was  taken  from  an  old  counterpane 
belonging  to  Miss  Elizabeth  Ganger,  of  Joliet,  111. 

Each  lower  heddle  stick  is  tied  to  a  lamb. 

The  treadles  are  tied  as  follows: 

Treadles  1  and  2  are  tied  to  the  first  lamb. 


!    >•    •  \m  _. 

Pig.  120— Curtains  with  Border  from  Rings  and  Chains 


OTHER  COLONIAL  PATTERNS 


81 


Treadles  2  and  3  are  tied  to  the  second  lamb. 
Treadles  3  and  4  are  tied  to  the  third  lamb. 
Treadles  1  and  4  are  tied  to  the  fourth  lamb. 
Plain  weave: 

Lambs  1  and  3  are  tied  to  the  right  middle  treadle. 
Lambs  2  and  4  are  tied  to  the  left  middle  treadle. 

Other  Patterns 

The  amateur  weaver  has,  no  doubt,  learned  by  this 
time  just  how  to  read  each  draft,  It  has  already  been 
stated  that  the  draft  tells  the  whole  story. 

The  lambs  are  always  tied  one  to  each  lower  heddle 
stick. 

The  treadles  are  now  tied  to  the  lambs.  Fig.  7G  sug- 
gests the  way  the  draft  may  be  divided  in  order  easily  to 
read  the  various  changes  and  make  the  "tie-up"  stand  out. 

It  is  better  to  figure  out  the  "tie-up"  for  the  pattern 
first.  The  plain  weave  "tie-up"  cannot  be  the  same  as  any- 
one of  the  pattern  combinations. 

It  is  only  possible  to  have  six  combinations  in  all.  This 
makes  the  plain  "tie-up"  very  apparent,  as  it  must  be 
either  1  and  2,  3  and  4,  or  1  and  3,  2  and  4. 

Very  rarely  does  it  appear  in  any  other  combination. 

There  are  other  ways  for  the  amateur  weaver  to  de- 
termine this,  but  for  the  present  the  one  given  is  sufficient. 

With  the  knowledge  previously  gained  tl tie-up" 

for  each  of  the  following  drafts  may  easily  lie  determined. 

Wind  Flower 

The  "Wind  Flower1'  is  a  good  example  of  a  counter- 
pane in  whick  two  drafts  are  used;  one  to  l>e  followed  in 


Fig.  121 — Counterpane  Woven  from  Old  Quilt  Pattern 


82 


FOOT-POWER  LOOM  WEAVING 


1  1  1 

!   1 

4 

- 

- 

- 

- 

BE 

.. 

2 

Fig.  122— Old  Quilt  Pattern.     Draft  of  Pattern 


Fig.  123 — Leopard  Skin.     Original  Pattern 


Fig.  124— Leopard  Skin.     Draft  of  Pattern 


MISCELLANEOUS  COLONIAL  PATTERNS 


83 


WHHWMKJW1S3 


-Ox 


Fig.  125— Fox  Trail.     Draft  of  Pattern 


Fig.  126 — Fox  Trail.     Original  Pattern 


m  ~%m 

-#<    mtm    twm    mm 


& 


r-rx««v»* 

Fig.  127 — Doors  and  Windows.     Original  Pattern 


4 

3 

a 


Fig.  128— Doors  and  Windows.     Draft  of  Pattern 


FOOT-POWER  LOOM  WEAVING 


1 


Fig.  129— Double  Chariot  Wheels.     Draft  of  Pattern 


Pig.  130 — Double  Chariot  Wheels.     Original  Pattern 


Fig.  131 — Scarlet  Balls.     Original  Pattern 


4 

3 


i 


9X 


i 


Fig.  132— Scarlet  Balls.     Draft  of  Pattern 


.V  /  >v '  A7,  /,.  I  \EO  US  COLON  I A  L  PA  TTEENS 


85 


Fig.  133— Sea  Star.    Draft  of  Pattern 

J  i  i  ;j  ijjjl 


2* 


^C^iy..,^?^ 

M.H..X...  - ;,.          iSHwv •••""»4  • 

'M*MMBMr     '     _    ^IMMMMcvJ^    J         ^MiiiUJ    II 


Fig.  134 — Sea  Star.     Original  Pattern 


'Fig.  135— The  White  House.     Original  Pattern 


Fig.  136— The  White  House.     Draft  of  Pattern 


86 


FOOT-POWER  LOOM  WEAVING 


Fig.  137 — The  Indiana  Frame  Rose.     Draft  of  Pattern 


Fig.  138 — The  Indiana  Frame  Rose.     Original  Pattern 


Fig.  139 — Window  Sash.     Original  Pattern 


Fig.  140— Window  Sash.     Draft  of  Pattern 


MISCELLANEOUS  COLONIAL  PATTERNS 


87 


Fig.  141 — Parson's  Beauty.     Draft  of  Pattern 


Fig.  142 — Parson's  Beauty.     Original  Pattern 


Fig.  143— Braddock's  Defeat.     Original  Pattern 


mmm 


T|    4. 

3 
z 


9X 


I 


Fig.  144 — Braddock's  Defeat.     Draft  of  Pattern 


FOOT-POWER  LOOM  WEAVING- 


Fig.  145 — The  King's  Flower.     Draft  of  Pattern 


Fig.  146 — The  King's  Flower.     Original  Pattern 


Fig.  147 — Queen's  Delight.     Original  Pattern 


4. 

2 


" 

• 


m 


Fig.  148 — Queen's  Delight.     Draft  of  Pattern 


MISCELLANEOUS  COLONIAL  PATTERNS 


89 


m 


Fig.  143— Old  Irish  Quilt  Pattern.     Draft  of  Pattern 


ii  y. 


\\    \\    II.  fl; 


Fig.  150— Old  Irish  Quilt  Pattern.     Original  Pattern 


Fig.  151— The  Cross.     Original  Pattern 


Fig.  152— The  Cross.     Draft  of  Pattern 


90 


FOOT-POWER  LOOM  WEAVING 


l~ 

1 

I 

1 

1 

1 

1 

1 

1 

I 

1 

I 

1 

• 

1 

1 

^~ 

^ 

^ 

1 

1 

1 

1 

1 

1 

1 

1 

1 

1 

1 

1 

'- 

1 

1 

1 

1 

• 

i 

i 

i 

i 

i 

i 

i 

i 

i 

i 

i 

• 

i 

i 

i 

• 

i 

i 

i 

1 

i 

• 

| 

i 

J- 

i 

f 

• 

i 

i 

i 

Jx 


Fig.  153— Double  Bow  Knot.     Draft  of  Pattern 


MISCELLANEOUS  COLONIAL  PATTERNS 


AVAVWWOs 

WVWA\VX[V"  VWyWAVA^ 
swwyS'O*^vVV-VVJ^x//  <w**8* 

^s^^$$&?tt;Ex£& 

Fig.  154 — Double  Bow  Knot.     Original  Pattern 


Fig.  155— Four  Wheels.     Original  Pattern 


mss 


Fig.  156 — Four  Wheels.     Draft  of  Pattern 


FOOT-POWER  LOOM  WEAVING 


Fig.  157 — Virginian  Snow  Ball.     Draft  of  Pattern 


Pig.  158 — Virginian  Snow  Ball.     Original  Pattern 


Fig.  159^  Dog  Tracks.     Original   Pattern 


Pig.  160— Dog  Tracks.     Draft  of  Pattern 


MISCELLANEOUS  COLONIAL  PATTERNS 


93 


6x 


Fig.  161 — The  Platform.     Draft  of  Pattern 


Fig.   162— The  Platform.     Original   Pattern 


F:g.  163— Guess  Me.     Original  Pattern 


Fig.  164— Guess  Me.     Draft  of  Pattern 


94 


FOOT-POWER  LOOM  WEAVING 


Fig.  165 — Wind  Flower.     Draft  of  Pattern 


the  threading,  and  the  other  to  be  followed  in  using  the 
treadles. 

Figure  165  shows  exactly  the  way  the  loom  should  be 
threaded  to  produce  the  pattern  shown  in  Fig.  167.  After 
the  threading  is  completed  there  is  no  further  use  for  Fig. 
165.  The  lambs  and  treadles  are  tied  the  same  as  in  pre- 
vious patterns : 

2  and  3  to  the  first  treadle. 
1  and  2  to  the  second. 

1  and  4  to  the  third. 

3  and  4  to  the  fourth. 


For  the  plain  weave,  2  and  4  are  tied  together,  and  1 
and  3. 

When  weaving,  Fig.  166  is  followed;  the  weaver  press- 
ing down  such  treadles  as  will  draw  down  the  threads 
indicated  in  the  treadling  draft.  To  determine  the  number 
of  times  each  treadle  should  be  pressed  down  the  draft 
may  be  divided  in  groups  of  threads  as  suggested  in 
Fig.  76. 

The  Whig  Rose 

Figure  168  shows  another  pattern  woven  by  using 
two  drafts,  one  for  threading  and  one  for  treadling.  Fig. 


Fig.  166— Wind  Flower.     Treadling  Draft 


MISCELLANEOUS  COLONIAL  PATTERNS 


Fig.  167 — Original  Pattern  and  Border  Woven  from  The  Wind 
Flower  Pattern 


K:i;.   li'.S     Tli,'   \Vhi.u   Kosr.      Original   I'attcn 


96 


FOOT-POWER  LOOM  WEAVING 


Fig.  169— The  Whig  Rose.     Draft  of  Pattern 


169  shows  the  threading  draft  for  the  Whig  Rose,  while 

170  shows  the  treadling  draft  for  the  same.     The  pattern 
treadles  are  tied  1  and  2  to  the  first  treadle,  2  and  3  to  the 
second,  3  and  4  to  the  third,  1  and  4  to  the  fourth. 

The  plain  weave  is  done  by  tying  1  and  3  to  the  right 
middle  treadle,  and  2  and  4  to  the  left  middle  treadle. 

After  the  threading  has  been  completed  there  is  no 
further  use  for  Fig.  169.  When  weaving,  follow  Fig.  170, 
remembering  that  each  dark  square  represents  one  woof 
thread. 

Sun,  Moon  and  Stars 

Figure  171  shows  a  draft  for  what  is  known  as  the 
Sun,  Moon  and  Stars. 


The  threading,  tie-up  and  treadling  are  all  found  in 
the  draft  and  require  no  further  explanation. 

The  halftone,  Fig.  172,  shows  the  finished  pattern,  as 
it  is  used  at  Berea,  Kentucky. 

The  warp  is  a  two-ply-twenty  (2/20)  cotton  thread. 

The  woof  is  of  wool. 

There  are  30  threads  to  the  inch,  threaded  through 
the  dents  of  a  No.  30  reed,  one  thread  to  the  dent,  or  a 
No.  15  reed,  two  threads  to  the  dent. 

Pine  Cone  Bloom 

Figure  173  shows  the  draft  for  what  is  known  as  the 
Pine  Cone  Bloom. 


Border 


Fig.  170— The  Whig  Rose.     Treadling  Draft 


. 


MISCELLANEOUS  COLONIAL  PATTERNS 


±l±tl 
ifflfff 


On  last  Repeat  End  Here 


Fig.  171 — Draft.     Sun,  Moon  and  Stars 


As  in  other  drafts,  the  whole  story  of  threading,  tie- 
up,  and  treadling  is  found  in  the  draft  itself.  Use  a  2/20 
cotton  for  warp  and  a  No.  30  or  15  reed,  30  threads  to  the 
inch. 

The  Pine  Cone  Bloom  is  a  favorite  draft  throughout 
the  South,  especially  in  Kentucky.  It  is  one  of  the  drafts 
extensively  used  at  lierea.  The  weaving  from  which  the 
half-tone.  Fig.  174,  was  taken  came  from  IJerea,  the  draft 
having  been  made  from  the  finished  piece1  of  work. 

Lily  of  the  Valley 

Figure  175  shows  the  draft  of  what  is  known  as  The 
Lily  of  the  Valley.  The  photograph  shown  in  the  half- 
tone. Fig.  17(i.  was  taken  from  a  counterpane;  found  in 
Hurke  County.  North  Carolina. 

The  war])  is  of  ~1  1.M)  cotton  and  the  weft  of  a  dark  blue 
wool.  A  No.  30,  or  a  Xo.  15,  reed  is  used.  The  threading, 
tie-up  and  treadling  are  all  found  in  the  draft. 

Figure  17d  is  an  illustration  of  the  finished  pattern. 


Fig.  172— Finished  Cloth 


'  '         00 


FOOT-POWER  LOOM  WEAVING 


Fig.  173— Draft.     Pine  Cone  Bloom 


.3* 


Fig.  174 — Finished  Cloth,     Pine  Cone  Bloom 


Fig.  176— Lily  of  the  Valley 


8x 


Fig.  175 — Lily  of  the  Valley.     Draft  of  Pattern 


MISCELLANEOUS  COLONIAL  PATTERNS 


99 


.  179— Bag. 


Pig.  180— Hand  Bag 


Fig.  177— The  Honey  Suckle.     Draft  of  Pattern 


BMi-illii  inn  inn  inn  mil iiiii! 


safcwtiwwiwi 


Pig.  178— Adaptations  from  the  Honey  Suckle  Pattern 


100 


Pig.  182— Draft  of  Pattern  used  in  Fig.  181 


CHAPTER  IV 

The  Analysis  of  Woven  Patterns 


How  to  Make  a  Draft  From  a  Woven  Pattern 

To  analyze  a  woven  piece  of  fabric  and  again  repro- 
duce it  on  a  foot-power  loom  is  one  of  the  most  interesting 
phases  of  elementary  textile  work.  So  often  pieces  of  old 
ccverlids  and  linen  towels  may  be  found  in  the  most  out- 
of-the-way  places.  The  amateur  weaver  always  has  a 
strong  desire  to  reproduce  these  most  interesting  old  de- 
signs. 

In  order  to  do  this  it  is  necessary  to  secure  a  piece  of 
checked  paper  consisting  of  four  lines  representing  the 
lour  heddles  to  be  used  in  the  weaving.  All  four  heddle 
drafts  are  written  in  this  way. 

Before  making  a  draft  it  is  necessary  to  know  the  fol- 
lowing principles  which  underlie  all  four-heddle  weaving. 

First- — There    are    six    possible    combinations    of    the 

heddles:    M'.  i-:;.  1-1.  i'-:;.  IM.  :;-i. 

Second — Of  these  combinations,  ]-:>  and  2-4  arc 
usually  reserved  for  plain  weaving. 

Third— The  combinations  1-2,  14,  2-3,  3-4.  make  the 
pattern. 

Fourth — The  last  thread  under  one  block  of  color  is 
alwavs  the  first  thread  under  the  next  block  of  color. 


Fifth — All  blocks  in  vertical  and  horizontal  lines  are 
made  by  the  same  combinations  of  heddles. 

Sixth — There  is  a  row  of  plain  weaving  after  each 
row  of  pattern. 

It  is  well  in  the  beginning  to  select  a  small  pattern 
such  as  is  shown  in  Fig.  J83.  From  this  pattern  pick  out 
the  unit  of  design  which  is  repeated  over  again  from  the 
first.  This  consists  of  a  square  which  extends  from  A  to  1~5. 

When  this  is  decided,  we  are  ready  to  represent  our 
blocks  of  color,  beginning  at  the  upper-right-hand  corner 
of  the  unit  and  working  diagonally  to  the  lower-left-hand 
end.  Fig.  184. 

Any  one  of  the  four  heddle  combinations  may  be 
chosen  for  the  first  block  of  color.  Count  the  number  of 
warp  threads  under  the  block.  In  this  case  there  are 
eight.  Suppose  the  first  combination  is  4-1;  we  then  mark 
alternately  on  the  lines  representing  the  fourth  and  first 
heddles,  using  .as  many  as  will  correspond  to  the  number 
of  warp  threads  needed. 

According  to  principle  4.  the  next  combination  must 
be  one  that  has  in  it  the  last  number  just  used.  In  the 
diagram,  the  last  number  was  1,  so  the  combination  1-2 


101 


I 


102 


FOOT-POWER  LOOM  WEAVING 


Pig.  183 — Complete  Pattern  Repealed 

must  be  used  next.  This  is  represented  as  before  on  the 
lines  representing  those  heddles,  counting  the  1  already 
there  as  the  first  number  and  using  as  many  alternately, 
as  there  are  to  be  warp  threads  under  the  second  block  of 
color — in  this  case  8. 


Again  according  to  principle  four,  the  next  combi- 
nation (block  3)  must  be  one  that  has  in  it  the  last  num- 
ber just  used.  In  the  diagram  the  last  number  was  2,  so 
the  combination  2-3  must  be  used  next.  This  is  repre- 
sented as  before  on  the  lines  representing  those  heddles, 
counting  the  2  already  there  as  the  first  number  and  usin,; 
as  many  alternately,  as  there  are  to  be  warp  threads  under 
the  third  block  of  color — in  this  case  8. 

Block  4  is  the  next  to  be  considered. 

This  block  must  be  one  that  has  in  it  the  last  num- 
ber just  used.  The  last  number  was  3,-  so  the  combina- 
tion 34  must  be  used  next.  This  is  represented  as  before 
on  the  lines  representing  those  heddles,  counting  the  3 
already  there  as  the  first  number  and  using  as  many  alter- 
nately as  there  are  to  be  warp  threads  under  the  fourth 
block  of  color — in  this  case  4. 

Block  5  is  the  next  to  be  considered. 

According  to  principle  five,  it  is  easily  seen  that  bloc!; 
y  is  simply  a  repetition  of  block  3  and  is  represented  by 
the  combination  2-3.  Here  is  i?e  first  difficulty.  The  las! 
heddle  used  was  4,  and  our  next  block  in  order  to  be  lit- 
the  third,  must  be  made  with  the  combination  2-3.  In 
order  to  have  the  last  thread  be  the  first  in  the  next,  3 
must  be  the  last  heddle  used.  This  can  be  made  right  by 
adding  another  thread  to  the  war])  threads  under  tin- 
fourth  block  and  putting  it  through  the  third  heddle.  We 
are  then  ready  to  use  3-2  two  times,  using  the  third  heddle 
first. 

Block  (>  is  to  be  next  considered. 


ANALYSIS  OF  WOVEN  PATTERN 


103 


According  to  principle  live,  block  G  is  on  a  line  ver- 
ticully  and  horizontally  \villi  block  1  and  should  be  repre- 
sented by  (lie  combination  •">-!.  In  order  to  have  the  last 
thread  the  first  in  the  next.  :5  must  be  the  last  heddle  used. 
This  can  be  made  right  by  adding  another  thread  to  the 
warp  threads  under  the  fifth  block  and  putting  it  through 
the  third  heddle.  \Ye  are  then  ready  to  use  ,'5-4  two  times. 

Block  7  is  to  be  next  considered. 

According  to  principle  live,  block  7  is  on  a  line  ver- 
tically and  horizontally  with  block  .">  and  should  be  repre- 
sented by  the  combination  .".-I'.  The  last  thread  used  was 
4.  This  can  be  made  right  by  adding  another  thread  to 
the  warp  threads  under  the  sixth  block  and  putting  it 
through  the  third  heddle.  We  are  then  ready  to  use  3-2 
two  times,  using  the  third  heddle  first. 

Block  8  is  the  same  as  blocks  <!  and  4  and  is  repre- 
sented by  the  combination  :{-4.  The  last  thread  used  in 
block  7  was  2.  Another  thread  must  now  be  added  to  the 
warp  threads  of  block  7  and  threaded  through  the  third 
heddle.  \\V  are  then  ready  to  use  :>-4  two  times. 

Block  '.»  is  the  same  as  block  :\  and  should  be  repre- 
sented by  the  combination  '2-'.',.  Since  the  last  thread  of 
block  S  was  four,  it  becomes  necessary  to  add  another  war]) 
thread  to  block  4  and  thread  it  through  the  third  heddle. 
.We  are  then  ready  to  use  3-2  eight  times. 

Block  10  is  the  same  as  block  2  and  is  represented  by 
the  combination  1-2.  Since  the  last  thread  of  block  !)  was 
2,  we  are  ready  to  use  2-1  four  times. 

Block  11  is  the  same  as  block  1  and  is  represented  by 


Pig.  184— Unit  to  be  Analyzed 


104 


FOOT-POWER  LOOM  WEAVING 


1?EPEAT   FROM   BEGINNING 


Fig.  185 — A  Pattern  Analysis 


ANALYSIS  OF  }\'(>VE.\  PAl&ERN 


105 


the  combination  4-1.  Since  the  last  thread  of  block  10  was 
1,  we  arc  ready  to  use  4-1  i'onr  times. 

Block  12  is  (lie  same  as  blocks  4,  0,  and  8,  and  is  rep- 
resented by  the  combination  3-4.  The  last  thread  in  block 
11  was  1.  We  arc  ready  to  use  the  combinations  4-3  two 
times. 

The  drat' I  as  written  at  the  top  of  Fig.  184  when  re- 
peated several  times  makes  a  very  interesting  all-over  pat- 
tern. 

It  will  be  observed  that  the  draft  ends  with  a  "1". 
In  repeating  it  the  first  "4"  at  the  beginning  must  be 
omitted. 

If  both  the  last  and  first  "4"  are  used  it  will  bring 
two  threads  on  (lie  same  heddle  stick,  thus  causing  two 
threads  to  go  down  or  up,  as  the  case  may  be. 

Another  Analysis 

Always,  before  beginning  any  analysis,  pick  out  of 
the  pattern  Hie  unit  of  design  which  is  repeated  backward 
or  over  again  to  produce  the  all-over  pattern. 

Fig.  1S.~>  shows  a  more  complicated  pattern,  consisting 
of  two  parts — a  diamond  and  a  square  extending  from  A 
to  15. 

Number  the  blocks  of  color,  beginning  at  the  upper 
right-hand  corner  of  the  unit,  diagonally  to  (lie  lower  left- 
hand  end,  as  shown  in  Fig.  1S5. 

Any  one  of  the  four  heddle  combinations  may  be 
chosen  for  the  tirst  block  of  color  and  for  counting  the 
number  of  warp  threads  under  the  block.  In  this  case 
there  are  eight. 


Suppose  4-1  is  chosen  for  the  first  combination.  This 
combination  is  then  written  as  many  times  as  Avill  corre- 
spond to  the  number  of  warp  threads  needed,  as  shown 
above,  block  1.  (Fig.  185). 

Block  No.  2  is  represented  by  the  combination  2-1. 

Block  No.  3  is  represented  by  the  combination  2-3. 

Block  No.  4  is  the  same  as  number  2. 

Block  No.  5  is  the  same  as  number  1«. 

Block  No.  6  is  represented  by  the  combination  3-1. 

Block  No.  7  is  the  same  as  block  3. 

Block  No.  8  is  the  same  as  block  (>. 

Block  No.  9  is  the  same  as  block  1 . 

Block  No.  10  is  the  same  as  block  2. 

Block  No.  11  is  the  same  as  block  3. 

Block  No.  12  is  the  same  as  block  4. 

Block  No.  13  is  the  same  as  block  1. 

Block  No.  11  is  the  same  as  block  (i. 

Block  No.  15  is  the  same  as  block  3. 

From  here  the  blocks  are  the  same  as  <>  and  3.  alter- 
nately. It  must  always  be  remembered  that  all  blocks  in 
the  same  lines  vertically  and  horizontally  are  represented 
by  the  same  combination. 

The  draft  at  the  top  of  Fig.  1S5  shows  the  combina- 
tions in  figures.  The  draft  below  shows  the  same  thread- 
ing. 

How  to  Block  Out  a  Pattern  From  a  Draft 

Blocking  a  pattern  from  a  given  draft  is  no  less  in- 
teresting than  making  a  draft  from  a  woven  piece  of 


106 


FOOT-POWER  LOOM  WEAVING 


fabric.    Drafts  may  be  had  from  various  sources  without 
the  woven  fabric. 

It  is  a  great  satisfaction  to  the  amateur  weaver  to  be 
able  to  block  out  the  draft  at  hand  and  thus  know  before 
the  loom  is  threaded  what  sort  of  pattern  a  certain  draft 
will  look  like  when  woven. 


Pig.  186— Draft  of  Solomon's  Delight 

The  draft  shown  in  Fig.  186  is  known  as  Solomon's 
Delight.  To  block  out  this  draft,  finst  secure  a  piece  of 
paper  ruled  in  eighth-inch  squares.  Along  the  left  edge 
write  the  draft  as  shown  in  Fig.  187.  The  first  combina- 
tion is  1-4-  There  are  four  threads  in  this  combination, 
but  as  a  matter  of  convenience  only  two  threads  are  shown 
in  Fig.  187.  The  14  is  written  ;  the  sign  (")  below  indicates 
another  1-4.  Each  square  represents  a  thread.  The  en- 
tire draft  is  written  in  this  way.  There  is  no  objection  to 
using  the  number  "of  threads  shown  in  the  draft.  This 
simply  doubles  the  size  of  the  blocks. 

The  draft  is  again  written  at  the  top  of  the  checked 
paper.  In  Fig.  187  each  vertical  row  of  squares  represents 
a  warp  thread. 

To  fill  in  the  blocks  as  shown  in  Fig.  187  begin  at  the 
upper  left-hand  corner.  The  first  combination  at  the  left 
is  1-4,  and  the  first  combination  at  the  top,4sL_l-4.  The 


Fig.   187 — Blockout   of   Draft,    Solomon's   Delight 

four  small  squares  are  rilled  in  with  a  colored  pencil.  Fol- 
lowing across  the  paper  each  time  that  the  combination 
1-4  is  reached  a  square  is  filled  in  as  shown  at  a,  b,  c,  d, 
e,  f .  and  g.  Fig.  187. 

The  next  combination  at  the  left  is  4-3  and  the  second 


BLOCKING  OUT  A  PATTERN 


107 


Fig.  188 


Fig.  189 


combination  at  the  top  is  4-3.  This  means  that  where  the 
vertical  and  horizontal  threads  cross,  the  block  is  colored 
as  shown  at  h,  i,  j,  and  k.  Fit;'.  1ST.  In  this  way  the  en- 
tire pattern  is  blocked  out  on  the  squared  paper  and  pro- 
vides a  means  by  which  the  weaver  may  get  a  good  idea 
of  the  pattern  without  threading  the  entire  loom. 

It  will  be  observed  that  the  draft  in  Fig.  186  has  been 
repeated  along  the  left  side  and  also  across  the  top  of 


the  checked  paper,  Fig.  187.  This  is  done  to  give  the 
weaver  a  better  idea  of  the  pattern. 

Any  four-harness  draft  may  be  worked  out  in  this  way 
and  is  a  means  of  detecting  mistakes  so  often  made  in 
copying  drafts.  Any  mistake  in  a  draft  is  easily  found 
and  may  be  made  right  by  the  one  who  is  checking  it  over. 

Make  patterns  on  checked  paper  for  Figs.  188  and 
189. 


CHAPTER  V 
Linen  Weaves 


Linen  Weaves 


So  new  is  the  return  of  weaving  that  few  amateurs 
have  ventured  to  do  much  in  the  way  of  reproducing  the 
old  linen  weaves  so  generally  used  in  the  early  days. 

Under  ordinary  conditions  linen  threads  are  not  in 
the  least  difficult  to  secure  from  various  dealers  in  textile 
materials. 

It  is  a  very  simple  matter  to  raise  one's  own  linen, 
thus  making  the  linen  products  of  the  loom  doubly  inter- 
esting. The  apparatus  necessary  to  the  heckling,  scutch- 
ing, and  spinning  of  the  flax  may  be  purchased  of  the 
Community  Shop,  Lockport,  Illinois. 

The  following  drafts  are  not  only  suitable  to  the  weav- 
ing of  linens,  but  any  material  used  in  other  weavings 
may  be  here  used  with  great  success. 

Martha  Washington  Towel 

The  draft  shown  in  Fig.  100  is  that  for  the  Martha 
Washington  Towel. 


Pig.   191 — Finished   Pattern.     Martha  Washington  Towel. 


Pig.  190— Martha  Washington  Towel.     Draft  of  Pattern 


108 


MARTHA  WASHINGTON  TOWEL 


109 


The  Warp 

Owing  to  the  scarcity  of  linen,  the  warp  may  be  of 
cotton.    Jap  Silk,  No.  70,  makes  a  fine  warp. 

The  Reed 

There  should  be  at  least  4S  threads  to  the  inch  and 
one  thread  through  each  dent,  excepting  at  the  edges  where; 
two  threads  are  drawn  through  each  of  the  first  and  last 
/  three  dents.    The  filler  is  of  a  fine  one-ply  linen.    A  num- 
ber 5,  mercerized  cotton  makes  a   very  interesting  filler. 
Fig.  191  shows  the  finished  woven  pattern. 

Tie-Up 

Attention  is  called  to  the  numbering  of  the  harnesses, 
counting  tin-  hack  harness  No.  1,  the  next  No.  2,  etc. 
The  harnesses  are  tied  as  follows: 
Numbers  1,  '2,  and  3  td  the  first  treadle. 
Numbers  1,  2,  and  4  to  the  second  treadle. 
Number  5  to  the  third  treadle. 
Numbers  1,  :!.  and  4  to  the  fourth  treadle. 
Numbers  2,  :!.  and  4  to  the  fifth  treadle. 


/  Tram]) 
Tramp 
Tramp 
Tramp 
Train]) 
Tramp 
Tramp 


treadle 
treadle 

treadle 
treadle 

I  reaille 
treadle 
treadle 


Treadling 
5  and  then 
5  and  then 
4  and  then 
4  and  then 
•1  and  then 
2  and  then 
1  and  then 


Draft 
treadle  3. 
treadle  3. 
treadle  3. 
treadle  3. 

treadle  3. 

treadle  .".. 

treadle  3. 


Fig.  193— Finished  Pattern  of  Draft 


Fig.  194— Modified  Treadling 


Tramp 
Tramp 
Tramp 
Tramp 
Tramp 
Tramp 
Tramp 
Tramp 
Tramp 
Tramp 
Tramp 
Tramp 


treadle 
treadle 
treadh; 
treadle 
treadle 
treadle 
treadle 
treadle 
treadle 
treadle 
treadle 
treadle 


1  and 
5  and 
5  and 
4  and 

4  and 

5  and 
5  and 
1  anel 

1  and 

2  and 
2  and 
I  and 


then 
then 
then 
the'ii 
then 
then 
then 
then 
then 
then 
then 

(lien 


treadle  3. 

treaelle-  3. 
treadle  3. 
tre-aelle  3. 
treadle  3. 
treadle  3. 
treaelle  3. 
treadle-  3. 
treadle'  3. 
treadle  3. 
treadle;  3. 
treaelle;  3. 


110 


FOOT-POWER  LOOM  WEAVING 


>11  times 


Tramp  treadle  4  and  then  treadle  3. 
Tramp  treadle  5  and  then  treadle  3. 
Tramp  treadle  5  and  then  treadle  3. 
Tramp  treadle  1  and  then  treadle  3. 
Tramp  treadle  1  and  then  treadle  3. 
Tramp  treadle  2  and  then  treadle  3. 
Tramp  treadle^  and  then  treadle  3. 
Only  one  shuttle  is  used. 
Use  the  double  tie-up  as  described  on  page  129. 

Betsy  Ross  Towel 

Fig.  192  shows  the  threading  draft  of  the  Betsy  Ross 
Towel.    This  is  a  most  interesting  four-harness  pattern. 

Fig.  193  illustrates  the  finished  pattern. 

Fig.   194   shows   another  pattern   made  by   a  slight- 
change  in  the  order  of  treadling. 


f 


Fig.  192—  Betsy  Ross  Towel.     Draft  of  Pattern 

Use  a  No.  48  reed,  one  thread  to  the  dent,  excepting 
the  first  and  last  two  through  which  two  threads  are 
drawn.  For  warp  use  the  No.  70  Jap  Silk.  Attention  is 
called  to  the  numbering  of  the  harnesses  : 


Tie-Up 

The  treadles  are  tied  as  follows  : 
tie  to  the  first  treadle. 


4?  1-4  tie  to  the  second  treadle. 

V  2-4  tie  to  the  third  treadle. 
^2.2-3  tie  to  the  fourth  treadle. 

/  1-2  tie  to  the  fifth  treadle. 
£  3-4  tie  to  the  sixth  treadle. 

Treadling  Draft 

3 )  4~  Tramp  1  then  3 

3    ^    Tramp  1  then  4 

to  ,  £.    Tramp  2  then  4 

J>  >  4  Tramp  2  then  3 


Repeat  this  group  six  times 


2>  t  b   Tramp  1  then  2 
-/,  ^   Tramp  3  then  4 


Kepeat  this  group_eight  times 


Tram])  1  then  :', 
.  -2  Tramp  2  then  4 


Repeat  this  group  .eight  times 


3)  £  Tramp  1  then  2 
^   ^  Tramp  3  then  4    j 

Any  number  of  modified 
changing  the  order  of  the  treadling  groups. 


Repeat  this  group  eight  times 

be  had  by 


Mollie  Pitcher  Towel 

Fig.  195  illustrates  the  threading  draft  for  the  Mollie 
Pitcher  Towel.  The  weave  is  most  interesting  and  in- 
volves the  use  of  only  one  shuttle  as  do  all  the  other  linen 
weaves. 

Fig.  19G  is  the  finished  pattern  obtained  by  following 
the  treadling  as  given  above,  while  Fig.  197  shows  another 
pattern  produced  by  making  a  slight  change  in  the  order  of 
treadling. 


BETSY  ROSS  TOWEL 


111 


For  warp,  use  a  No.  70  Jap  Silk.  No.  48  reed;  one 
tin-end  to  each  dent,  excepting  the  first  and  last  three  into 
which  two  threads  arc  drawn. 

Tie-Up 

I'sc  (lie  double  tie-up,  as  suggested  on  page  130. 
Harnesses  1,  2,  and  4  tie  to  the  first  treadle. 
Harnesses  1.  I',  and  3  tie  to  the  second  treadle. 
Harness  .">  tie  to  the  third  treadle. 
Harnesses  2,  3,  and  4  tie  to  the  fourth  treadle. 
Harnesses  1,  3,  and  4  tie  to  the  fifth  treadle. 

Treadling  Draft  for  Fig.  196 
Tramp  1  then  3 
Tran i p  i'  then  3 
Tramp  1  then  :: 
Tramp  4  then  3 
Tramp  5  then  3 
Tramp  4  then  3 
Tramp  2  then  3 
Train])  2  then  3 
Tramp  1  then  3 
Tramp  1  then  3 
Tramp  1'  then  :; 
Tramp  2  then  3 
Tramp  .">  then  3  :!  times 
Tramp  5  then  3 
Tramp  4  then  3 
Tramp  4  then  3 
Tramp  .">  then  3 
Tramp  5  then  3 


8  times 


4  times 


Tramp  2  then  3 
Tramp  2  then  3 
Tramp  1  then  3 
Tramp  1  then  3 
Tramp  2  then  3 
Tramp  2  then  3 
Tramp  4  then  3 
Tramp  5  then  3 


4  times 


"sjfc  1^*3    rffct  ; 


Ctt     aa      20 
a       o       <s       '>-'.'. 
fft    a  o    CIK 
»0«     »a.  oe     •,. 


1?     *&     If     °-^-= 


fcfi      « *      a 
--        .~~<      ™^( 


Fig.  196— Mollie  Pitcher  Towel 


112 


FOOT-POWER  LOOM  WEAVING 


.Ti T:    p      ~tf   *? 

•'"'-V   •     ^O   '        O  tj 

'Qj§  '  't?. ' '    t$*  '   ~  ° 
iaii       °  •    tj?i       C 

?.?      o  B-js:n  a,* 

WJJ^*^    ^' 
J*     Jt,   J=      * 


«B^«^« 


.b,     o       o  . 


*j    ®    »    ^ 


KJfcJ-Q^iTt1 
of«    4>    fcft.'-tf 


igj'SJ  «•  P: 
•(>S  &  ..jC.    ,v:v 


Pig.  197 — Mollie  Pitcher  Towel 


times 


Tramp  4  then  3 
Repeat  from  beginning. 

Treadling  Draft  for  Fig.  197 

Tramp  1  then  o   1  0 

rS  tunes 
Tramp  2  then  :!    > 

Tramp  1  then  3 
Tramp  4  then  i! 
Tram])  Z  then  3 
Tramp  4  then  3 
Tramp  1  then  3 
Tramp  1  then  3 
Tramp  2  then  3 
Tramp  2  then  3 
Tramp  1  then  3 
Tramp  1  then  3 
Tramp  4  then  3 
Tramp  4  then  3 
Tramp  5  then  3 
Tramp  5  then  3 
Tramp  4  then  3 
Tramp  4  then  3 


'3  times 


1 


Pig.  195 — Draft  for  Mollie  Pitcher  Towel 


THREE-HARNESS  LINEN  WEAVE 


113 


Fig.  198 — Draft  for  Three  Harness  Weave 


Tramp  1  then  3 
Tramp  1  then  3 
Tramp  1*  then  3 
Tramp  i'  then  3 
Tramp  1  then  :'> 
Tramp  1  then  3 
Tramp  4  then  :; 
Tramp  5  then  3 
Tramp  4  then  3 
llepejit  from  beginnin 


U 


times 


Three  Harness  Linen  Weave 

Fig.  198  gives  the  draft  for  the  weaving  of  very  prac- 
tical towels. 

Cse  | he  same  materials  as  described  in  previous  towel 
drafts. 

There  are  only  three  harnesses,  six  treadles,  thus 
giving  a  variety  in  weave.  Fig.  ]!)<»  shows  the  finished 
pattern. 

Harnesses  1  and  3  tie  to  the  first   treadle. 

Harnesses  1  and  '2  tie  to  the  second  treadle. 


Harness  3  tie  to  the  third  treadle. 

Harness  2  tie  to  the  fourth  treadle. 

Harnesses  l!  and  3  tie  to  the  fifth  treadle. 

Harness  3  tie  to  the  sixth  treadle. 

The  double  tie-up  suggested  on  page  Il2!t  is  best  for 
all  linen  weaves,  especially  when  an  odd  number  of  har- 
nesses is  involved. 


Fig.  199— Finished  I'aiti  rn  of  Throe  Harness  Linen  Weave 


114 


FOOT-POWER  LOOM  WEAVING 


Treadling  Draft 


3  times 


Tramp  4  then  1  Tramp  5  then  G 

Tramp  4  then  3  -i                     Tramp  3  then  2 

Tramp  1  then  2  L  times       Tramp  3  then  2 

Tramp  3  then  4  j                     Tramp  5  then  (i     3  times 

Tramp  2  then  1  Tramp  1  then  4 

Tramp  4  then  1  Tramp  1  then  2 

Tramp  5  then  (i  3  times       Tramp  4  then  3 

Tramp  3  then  2  Tramp  2  then  1 

Tramp  3  then  4  Tramp  3  then  4 

Tramp  2  then  1  Tramp  1  then  4 

Tramp  4  then  1  Repeat  from  beginning. 


'  Fig.  200— M's  and  O's. 
Draft  of  Pattern 


M's  and  O's 

The  short  threading  draft  shown  in  Fig.  200  is  known 
iii  Kentucky  as  M's  and  O's. 

Use  cotton  for  the  warp,  and  a  number  20  linen  for 
the  filler.  The  2/20  cotton  unbleached  used  in  the  counter- 
panes is  suitable  for  this  pattern.  Fig.  201  shows  the  fin- 
ished pattern. 


•  •  ••••   •  ••••••  •  ••••••••••••_••••    I  •!• 


Pig.  202 — Modified  Draft  in  M's  and  O's 

The  Tie-Up    . 

Harnesses  3  and  4  are  tied  to  the  first  treadle. 
Harnesses  1  and  2  are  tied  to  the  second  treadle. 


Fig.  201 — Completed  Pattern, 
M's  and  O's 


Fig.  203— Completed  Pattern 
of  Fig.  202 


Harnesses  1  and  3  are  tied  to  the  third  treadle. 
Harnesses  2  and  4  are  tied  to  the  fourth  treadle. 

Treadling  Draft 

Tramp  first  two  treadles  eight  times  alternately,  then 
3  and  4  treadles  eight  times  alternately,  always  beginning 
at  the  right. 

Fig.  202  shows  a  modified  draft  of  the  M's  and  O's. 
Fig.  203  shows  the  finished  piece  of  work. 

The  weaver  must  remember  that  the  horizontal  di- 
mensions in  weaving  depend  upon  the  number  of  times 
certain  threads  are  repeated  in  the  draft.  The  vertical 
dimensions  depend  upon  the  number  of  times  certain 
treadles  are  pressed  down.  This  is  very  clearly  demon- 
strated in  the  modified  draft. 

Only  one  shuttle  is  used,  as  no  binder  is  necessary 
in  any  of  the  linen  weaves. 


CHAPTER  VI 


Danish  and  Norwegian  Weaving. 


Ways  of  Expressing  Danish  Patterns 
It  has  been  stated  already  that  no  attempt  has  been 
made  to  make  this  manual  technical.    The  plan  is  to  keep 
every   pattern   simple  and  to  tell  of  its  execution  in  as 
simple  a  way  as  possible. 

The  Danes.  Swedes,  and  Norwegians  have  carried 
weaving  on  the  foot-power  loom  to  a  high  degree  of 
>  ffirirnrif.  The  work  is  carried  on  to  a  very  great  extent 
in  the  homes.  This  is  largely  due  to  the  fact  that  the  gov- 
ernments of  these  countries  encourage  weaving  as  a  home 
industry.  Kach  of  these  countries  has  its  own  way  of 
writing  and  reading  drafts.  It  is  the  purpose  of  this  man- 
ual to  give  to  amateur  weavers  an  explanation  of  the  way 
each  of  the  three  nationalities  writes  and  interprets  its 
drafts. 

Reading  a  Draft 

Figure  204  shows  a  four-harness  pattern  woven  by 
using  three  treadles.  The  lower  lieddle  sticks  are  tied  one 
to  each  lamb. 

The  treadles  are  tied  as  indicated  by  the  stars  placed 
on  the  horizontal  lines  just  to  the  right  of  the  threading. 
The  tie-up  is  interpreted  as  follows: 


Lambs  2  and  4  tie  to  the  first  treadle. 

Lambs  1  and  3  tie  to  the  second  treadle. 

Lambs  1  and  2  tie  to  the  third  treadle. 

The  order  in  which  the  treadles  are  pressed  down  is 
indicated  by  the  stars  on  the  vertical  lines  just  to  the 
right  of  the  woven  pattern.  Treadle  No.  3  is  pressed  down 
first,  then  treadle  No.  2,  then  back  to  No.  3,  next  No.  1, 
and  then  back  to  Xo.  3,  etc. 

Figure  205  shows  the  draft  and  a  woven  sample  for  a 
two-harness  loom.  Each  horizontal  line  above  the  woven 
pattern  stands  for  a  pair  of  heddle  sticks  i  harness).  Each 
vertical  line  stands  for  a  treadle.  This  draft  is  threaded 
in  the  following  way : 

The  first  thread  passes  through  the  eye  of  the  heddle 
on  the  first  pair  of  heddle  sticks.  The  second  thread  passes 
through  the  eye  of  the  heddle  on  the  second  pair  of  heddle 
sticks.  Each  time  a  heddle  is  threaded,  it  is  pushed  along. 
The  third  thread  passes  through  the  eye  of  the  heddle  on 
the  third  heddle  stick  and  is  pushed  along.  The  fourth 
thread  passes  through  the  eye  of  the  first  heddle  on  the 
fourth  heddle  stick  and  is  pushed  along.  The  fifth  thread 
goes  back  to  the  first  heddle  stick  and  is  threaded  through 


FOOT-POWER  LOOM  WEAVING 


Fig.  204 


Fig.  205 


the  eye  of  the  second  heddle  and  is  pushed  along.  The 
threading  continues  the  same  as  the  first  four  threads,  the 
order  being-1,  2,  3,  4.  This  is  continued  until  the  desired 
number  of  threads  has  been  threaded. 

It  will  be  observed  that  only  two  treadles  are  used 
while  there  arc  four  harnesses  for  plain  weaving.  The  be- 
ginner might  ask  why  use  four  harnesses  when  two  might 
answer  the  purpose.  If  any  great  number  of  threads  is  to 
be  used  in  plain  weaving,  it  is  better  to  use  four  harnesses 
instead  of  two,  threading  as  above  described. 

Tying  the  Treadle 

It  will  be  observed  that  the  lower  heddle  sticks  2  and 
4  are  tied  to  the  right  treadle,  and  1  and  3  to  the  left 
treadle.  This  is  indicated  by  the  stars  placed  on  the  ver- 
tical lines  to  the  right  of  the  threading  draft.  With  this 


Fig.  206 


Pig.  207 


tie-up,  each  time  a  treadle  is  pressed  down,  one-half  the 
threads  are  drawn  down.  This  practically  does  what  two 
harnesses  would  do.  l>y  using  four  sets  the  threads  arc 
not  crowded  so  closely  together.  The  stars  placed  on  the 
vertical  lines  to  the  right  of  the  woven  sample  indicate  the 
order  in  which  the  treadles  are  to  be  pressed  down. 

Fig.  20G  shows  a  somewhat  checked  material.  To  pro- 
duce this  pattern  the  warp  is  made  up  of  blue  and  white 
threads.  The  threading  is  done  the  same  as  in  Fig.  205, 
but  first  two  blue  and  then  two  white  threads  are  threaded 
until  the  entire  number  of  threads  has  been  used.  When 
weaving,  two  blue  threads  are  used  and  then  two  white. 
This  necessitates  the  use  of  two  shuttles.  It  is  also  under- 
stood that  when  preparing  the  warp  chain,  the  spools  of 
warp  are  so  placed  on  the  spool  rack  that  two  blue  and 
two  white  threads  are  reeled  or  warped  at  one  time.  The 


DANISH  PATTERNS 


117 


Fig.  208 


Pig.  209 


Fig.  210 


Fig.  211 


stars  marked  on  the  vertical  lines  indicate  that  first  one 
treadle  and  then  the  other  is  to  be  pressed  down. 

Fig.  207  shows  another  four-harness,  but  practically 
only  two-harness  pattern.  The  threading  is  done  the  same 
as  in  the  two  already  described.  Harnesses  1.  2  and  3 
are  tied  to  the  left  treadle,  and  harness  4  to  the  right 
treadle.  This  is  indicated  by  the  stars  placed  on  the  ver 
tical  lines  to  the  right  of  the  threading  draft. 

The  stars  on  the  vertical  lines  to  the  right  of  the 
woven  pattern  indicate  the  order  in  which  the  treadles  are 
pressed  down. 

Figure  20.S  shows  a  four-harness  pattern,  a  little  more 
irregular  in  its  threading.  The  greatest  care  must  be 
exercised  win  n  threading. 

In  tying  up  this  pattern  the  lambs  are  tied  one  to 
each  lower  heddle  stick.  The  stars  on  the  vertical  lines 


to  the  right  of  the  threading  indicate  the  order  in  which 
the  treadles  are  tied  to  the  lambs.  Treadle  No.  1  is  tied 
to  the  3rd  and  4th  lambs.  Treadle  No.  2  is  tied  to  the 
1st  and  2nd  lambs.  Treadle  No.  3  is  tied  to  the  2nd  and 
4th  lambs.  Treadle  No.  4  is  tied  to  the  1st  and  3rd  lambs. 

The  stars  on  the  vertical  lines,  to  the  right  of  the 
woven  pattern,  indicate  the  order  in  which  the  treadles  arc 
to  be  pressed  down.  The,  order  is  first  treadle  I,  then  3, 
2  and  1.  Then  back  again  to  I,  :!,  2,  1.  This  order  is  con- 
tinued throughout  the  entire  weaving. 

Figure  20!)  shows  a  most  interesting  weave  for  towels. 
The  warp  and  woof  should  be  of  linen.  The  111  reading  is 
done  as  shown  in  the  draft.  Lambs  and  treadles  are  tied 
as  shown  by  stars  to  the  right  of  the  threading  draft.  The 
order  of  treadling  is  shown  by  stars  on  vertical  lines  to 
the  right  of  woven  sample. 


118 


FOOT-POWER  LOOM  WEAVING 


o — 14-  — 


ItfWfflffi 


Fig.  212 


Fig.   213 


Figure  210  shows  a  serge.  The  warp  and  woof  should 
be  of  wool.  Threading  and  tie-up  are  as  indicated  in  the 
draft. 

Figure  211  shows  another  serge  weave. 

Figure  212  shows  a  pattern  woven  on  a  six  treadle 
loom.  The  method  of  handling  more  than  four  harnesses 
will  be  treated  a  little  later.  It  is  a  very  interesting-  weave 
which  may  be  used  for  winter  coats.  The  warp  and  woof 
are  of  wool.  Two  threads  are  drawn  through  each  dent  of 
the  reed.  Note  the  irregular  way  in  which  the  ti'eadles 
are  pressed  down. 

Figure  213  shows  an  interesting  weave  to  be  used  in 
towels.  The  dark,  vertical  stripe  shows  a  number  of  col- 
ored threads  reeled  in  the  warp,  while  the  horizontal  dark 
stripe  indicates  that  the  same  color  is  used  as  woof. 


Fig.  214 


Fig.  215 


This  pattern  is  commonly  known  as  the  "Goose  Eye." 
The  threading  and  treadling  are  done  as  indicated.  Two 
threads  are  drawn  through  each  dent. 

Figure  214  shows  a  canvas  weave.  The  threading  is 
done  the  same  as  in  previous  patterns.  The  little  circle 
placed  below  and  between  the  groups  of  threads  only  indi- 
cates that  a  dent  in  the  reed  is  to  be  omitted  and  has  no 
reference  to  the  threading  of  the  pattern. 

It  will  be  observed  that  the  threads  are  in  groups,  four 
in  each.  Each  group  of  four  threads  is  drawn  through 
every  other  dent  of  the  reed.  In  other  words,  every  other 
dent  of  the  reed  is  left  vacant.  The  threads  on  heddle 
sticks  1  and  2  make  one  group  and  the  threads  on  heddle 
sticks  3  and  4  make  another  group.  This  is  clearly  shown 


NORWEGIAN  PATTERNS 


'119 


Pig.  21 G 


Fig.  217 


Fig.  218 


Fig.  219 


in  the  draft.  When  weaving,  the  lirst  and  fourth  woof 
Urn-ads  arc  to  bo  double. 

Figure  -\r>  shows  a  very  interesting  curtain  material 
woven  by  using  four  harnesses  and  three  treadles. 

The  plain  stripe  is  shown  in  the  first  part  of  the 
tin-ending  draft.  This  number  of  tin-ends  may  be  increased 
so  as  to  make  any  width  desired.  The  closely  woven  bands 
at  the  edges  of  the  plain  stripe  are  obtained  by  drawing 
nvo  threads  through  each  dent. 

The  open  work  is  produced  by  drawing  the  three 
threads,  held  together  at  the  base,  through  a  single  dent. 
The  small  circles  between  the  groups  indicate  a  dent  to  be 
omitted.  The  tie-up  and  treadling  are  done  as  indicated 
in  th:-  draft. 

In  Figs.  -Mil.  L.M7.  IMS  and  I'l'.l  are  given  examples  of 
five  and  six  harness  patterns.  While  these  drafts  are 


threaded  and  tied  up  the  same  as  other  patterns,  the 
method  of  hanging  the  harnesses  is  somewhat  different  and 
will  be  taken  up  in  detail  a  little  later. 

Norwegian  Patterns 

The  three  patterns  which  follow  show  that  the  Danish 
and  Norwegian  ways  of  writing  patterns  are  very  much 
the  same. 

Figure  1'liO  shows  n  very  interesting  pattern  and  draft 
which  may  be  produced  on  a  four-harness  loom,  using  eigh! 
treadles.  In  reeling  the  warp,  eight  threads  of  one  color 
are  used  i  say  blue}  and  then  eight  threads  of  white.  Two 
threads  are  drawn  through  the  eye  of  each  heddle  and 
also  through  each  dent  of  the  reed.  The  woof  thread  is 
also  wound  double  on  the  bobbins  so  that  each  time  the 
shuttle  ] »asses  through  the  shed  two  threads  are  carried 
at  the  same  time. 


120 


FOOT-POWER  LOOM  WEAVING 


The  horizontal  parallel  lines  represent  the  harnesses, 
which  are  the  same  as  heddle  sticks.  The  vertical  parallel 
lines  represent  the  treadles.  The  stars  indicate  the  way 
the  treadles  are  tied  to  the  lambs.  The  little  dashes  on 
the  vertical  lines  indicate  the  order  in  which  the  treadles 
are  pressed  down.  This  order  of  treadling  is  continued 
until  the  desired  amount  of  fabric  is  woven. 

Figure  221  shows  a  pattern  in  which  the  reeling  is 
done  by  running  three  blue  threads  and  one  white  thread 
on  the  beam.  The  entire  warp  is  made  up  in  this  way, 


three  blue  and  one  white.  Each  thread  passes  through 
the  eye  of  a  heddle,  and  only  one  thread  to  each  dent  of 
the  reed.  When  weaving,  three  blue  woof  threads  are 
woven  and  then  one  white. 

In  warping  for  the  pattern  shown  in  Fig.  222,  two 
blue  and  two  white  threads  are  warped  at  the  same  time. 
The  threading  is  done  by  threading  singly  two  blue  and 
then  two  white,  as  indicated  in  the  draft.  Two  threads 
are  drawn  through  each  dent  of  the  reed. 


Pig.    220 


Pig.  221 


Fig.  222 


CHAPTER  VII. 


Swedish  Weaving 


Swedish  Way  of  Writing  a  Draft 

In  many  respects  the  Swedish  way  of  writing  a  draft 
is  more  simple  than  any  of  the  other  ways  described. 

The  patterns  which  follow  are  all  written  in  the 
Swedish  manner  and  are  interpreted  in  the  following  way: 
Fig.  223  shows  a  plain  two-harness  weave.  Each  vertical 
line  indicates  a  thread. 

In  Figure  224  is  shown  a  two-harness  pattern.  The 
threading  indicates  that  two  threads  are  drawn  through 
each  eye  of  the  heddles;  two  through  the  eye  of  the  first 
heddle  on  the  hack  lieddle  sticks,  and  then  two  through 
the  eye  of  the  first  heddle  on  the  tirst  or  front  heddle 
sticks. 

It  may  also  be  done  by  threading  only  one  thread 
through  cadi  eye  but  using  two  heddles  on  the  same 
sticks.  Two  threads  may  he  drawn  through  each  dent  of 
the  reed. 

Figure  L'I'I;  shows  what  may  be  called  either  a  two- 
treadle  or  four-treadle  draft.  If  two  treadles  are  used, 
two  lambs  tie  to  each  treadle.  It  must  always  be  remem- 
bered that  each  lamb  is  tied  to  a  lower  heddle  stick.  Ty- 
ing to  the  lambs  is  the  same  as  lying  to  the  lower  heddle 
sticks. 


When  the  foot  presses  a  treadle  it  draws  down  two 
harnesses. 

If  four  treadles  are  used,  one  to  each  lamb,  it  is  neces- 
sary to  use  both  feet  in  pressing  down  two  treadles  at  the 
same  time.  The  treadles  marked  1  and  1  indicate  that 
these  are  the  first  to  be  pressed  down  and  mean  treadles  1 
and  3.  Two  and  2  indicate  the  second  change  and  in- 
dicate that  the  second  and  fourth  treadles  are  pressed 
down. 

Figure  225  shows  the  draft  for  a  four-harness  loom. 
The  space  between  each  pair  of  horizontal  parallel  lines 
stands  for  a  pair  of  heddle  sticks. 

Each  space  between  the  vertical  parallel  lines  repre- 
sents a  treadle.  The  little  dots  within  the  small  squares 
indicate  the  order  in  which  the  treadles  are  to  be  tied  to 
the  lambs. 

The  figures  just  below  the  dots  indicate  the  order  in 
which  the  treadles  are  pressed  down. 

Figure  '2'2r>  is  threaded  by  passing  a  thread  through 
the  eye  of  the  heddle  on  the  back  or  fourth  heddle  sticks. 
The  second  thread  passes  through  the  eye  of  the  heddle  on 
the  third  heddle  sticks,  the  third  thread  passes  through 
the  eye  of  the  heddle  on  the  second,  and  the  fourth  thread 


121 


122 


FOOT-POWER  LOOM  WEAVING 


passes  through  the  eye  of  the  first  heddle  on  the  first  or 
front  heddle  sticks. 

The  entire  draft  is  threaded  by  following  this  order : 

The  lambs  are  tied  one  to  each  lower  heddle  stick. 
The  pattern  indicates  according  to  the  little  dots  that  the 
fourth  lamb  is  tied  to  the  first  treadle,  the  second  lamb  is 
tied  to  the  second  treadle,  the  third  lamb  is  tied  to  the 
third  treadle,  and  the  first  lamb  is  tied  to  the  fourth 
treadle. 

The  figures  just  below  the  dots  indicate  that  the  trea- 
dles are  pressed  down  in  the  order  of  first  1,  then  2,  3, 
and  4.  This  order  of  treadling  is  kept  up  until  the  de- 
sired amount  of  material  is  woven. 

In  Fig.  227  is  shown  the  same  threading,  but  a  dif- 
ferent order  of  tying. 

Lambs  1  and  2  are  tied  to  the  first  treadle.  Lambs 
1  and  3  are  tied  to  the  second  treadle.  Lambs  1  and  2 
are  tied  to  the  third  treadle.  Lambs  2  and  4  are  tied  to 
the  fourth  treadle. 

The  order  of  pressing  the  treadles  is  shown  by  the 
figures. 

In  Fig.  228  the  threading  is  the  same  as  in  the  two 
previous  patterns.  The  lambs  are  tied  as  follows : 

1,  3  and  4  to  the  first  treadle. 

2  and  3  to  the  second  treadle. 

1,  2  and  3  to  the  third  treadle. 

2  and  4  to  the  fourth  treadle. 

1  to  the  fifth  treadle. 

2  to  the  sixth  treadle. 


Fig.  223 


Pig.  224 


Fig.  225         4  3 


Fig.  226 


While  this  pattern  requires  six  treadles,  there  will  be 
no  difficulty  in  understanding  the  tie-up. 

Figure  229  shows  the  same  threading  and  two  \v;iys 


SWEDISH  PATTERNS 


123 


Pig.  227 


Fig.  228 


vwMmm 
&m$i%*fu 

iiffiil 


.i  .^.r.*..,  i. 


• 

•» 

• 

1           I 

• 

• 

• 

J 

• 

• 

• 

1              { 

• 

• 

• 

1                I 

1 

1 

4 

3 

2 

1 

2 

2 

j 

3 

3 

44 

1 

Pig.  229 


of  "tie-up."  The  first  shows  each  lower  heddle  stick  tied 
to  a  treadle.  In  such  case  treadles  1  and  4  are  pressed 
down  the  first  time,  indicated  by  the  two  ones.  The  next 
time  treadles  1  and  2  are  pressed  down  at  the  same  time, 
indicated  by  the  two  twos.  The  third  time  treadles  2  and 
3  are  pressed,  down,  indicated  by  the  two  threes.  The 
fourth  time  treadles  3  and  4  are  pressed  down,  indicated 
by  the  two  fours.  After  following  this  order  once  it  is 
gone  right  over  again  and  continued  until  the  desired 
amount  of  material  is  woven. 

The  other  tying  gives  exactly  the  same  result  because 
of  the  fact  that  two  lambs  are  tied  to  one  treadle.  This 
latter  plan  is  better  and  makes  it  possible  to  accomplish 
much  greater  results  in  the  amount  of  fabrics  woven. 

In  the  next  four  patterns,  230  to  233  inclusive,  the 
threading  is  the  same  as  in  previous  patterns.  The  tread- 
ling is  done  by  following  the  order  of  numbering. 

In  rig.  -i:\-l  the  number  5  means  that  the  third  treadle 
is  to  be  pressed  down,  and  number  G  indicates  the  second 
treadle  pressed  down. 

In  Fig.  234  the  threading  is  done  the  same  as  in  the 
two-harness  loom  draft  shown  in  Fig.  L'l'l. 

Irregular  Threading 

In  Fig.  l'.'!,")  is  shown  the  first  irregular  threading. 
The  first  thread  passes  through  the  first,  lieddle  on  the 
fourth  heddle  stick,  the  second  thread  passes  through  the 
first  heddle  on  the  third  heddle  stick,  the  third  thread  goes 
back  to  the  second  heddle  on  the  fourth  lieddle  stick,  the 


124 


FOOT-POWER  LOOM  WEAVING 


fourth  thread  to  the  second  heddle  on  the  third  heddle 
stick,  the  fifth  thread  thi'ough  the  first  heddle  on  the  sec- 
ond heddle  stick,  the  sixth  thread  through  the  first  heddle 
on  the  first  heddle  stick,  the  seventh  thread  through  the 
second  heddle  on  the  second  heddle  stick,  and  the  eighth 
thread  through  the  second  heddle  on  the  first  heddle  stick. 

In  Fig.  23G  is  shown  another  irregular  threading ;  first 
between  the  3rd  and  4th  heddles  and  then  between  the  1st 
and  2nd.  Observe  the  grouping  of  the  treadling. 

The  lambs  are  tied  as  indicated  by  the  dots.  The 
treadles  are  pressed  down  as  indicated  by  the  figures.  The 
first  time  treadle  1  is  pressed  down.  The  next  No.  2,  the 
third  time  No.  1  again,  the  fourth  time  No.  2  again.  The 
fifth  time  No.  1.  The  next  five  times  are  between  treadles 
3  and  4.  The  next  goes  back  to  the  first  and  second  trea- 
dles. This  order  is  kept  up  until  the  desired  amount  of 
material  is  woven. 

Figure  237  shows  what  is  known  as  the  "Honey  Comb 
Weave."  There  will  be  no  difficulty  in  understanding  the 
threading.  The  first  fourteen  threads  are  on  the  third 
and  fourth  harnesses.  The  second  fourteen  threads  are  on 
the  first  and  second  harnesses.  To  produce  the  effect  shown 
in  the  finished  pattern  the  entire  warp  is  threaded  just  as 
shown  in  the  draft.  If  a  variation  is  desired  the  loom  may 
be  threaded  so  six  inches  will  be  the  same  as  shown  in  the 
finished  pattern.  A  four-inch  stripe  may  be  threaded  by 
drawing  28  threads  through  the  heddles  on  the  third  and 
fourth  harnesses  and  then  28  on  the  first  and  second.  This 
is  continued  until  the  desired  width  is  obtained.  The  next 


Fig.  230 


Fig.  231 


Fig.  232 


Fig.  233 


SWEDISH  PATTERNS 


125 


Fig.  234 


Fie.  235 


Fig.  236 


IP* 

•T 

• 

•pix 

• 

1  I 

S 

1 

L. 

3 

1  1 

4  3 

step  is  to  go  back  to  the  fourteen  threads.  The  treadles 
arc  tied  one  to  cadi  lainh.  In  weaving,  the  first  fourteen 
threads  of  the  woof  are  woven  by  pressing  down  the  first 
and  then  the  second  treadles. 

The  next  is  to  press  down  treadles  one  and  three  at 
the  same  time.  This  is  indicated  by  1  and  1,  a  heavy  thread 


passed  through  the  shed.  The  next  is  to  press  down  trea- 
dles two  and  four  at  the  same  time,  and  is  indicated  by  the 
figures  2  and  2  and  a  heavy  thread  passes  through  the  shed. 
The  next  fourteen  threads  are  woven  in  by  pressing  down 
treadles  three  and  four  as  indicated  by  the  figures  placed 
in  the  vertical  spaces.  This  order  of  treadling  is  kept  up 
until  the  material  is  woven. 

Figure  2.'5i)  shows  a  threading  which  is  the  same  as 
that  of  the  Rose  Path,  Uy  following  the  order  of  tread- 
ling as  indicated  by  the  figures  used,  a  most  pleasing  all- 
over  pattern  results. 

Figure  240  shows  two  threads  passing  through  the 
eye  of  the  lied  die  on  the  fourth  heddle  sticks,  then  one 
thread  each  through  the  third  and  second,  and  then  two 
through  the  eye  of  the  first  heddle  on  the  first  heddle  sticks. 

The  draft  indicates  two  single  threads  and  then  one 
double.  In  threading,  two  threads  may  be  drawn  through 
each  dent  of  the  reed,  or  a  double  thread  may  be  drawn 
through  the  first  and  then  two  single,  as  indicated  in  the 
draft. 

Observe  the  order  of  treadling,  first  the  first  treadle, 
then  the  second,  and  then  the  third.  The  fourth  step  indi- 
cates that  the  first,  "marked  four,"  is  pressed  down  and 
then  the  second,  "marked  five."  The  sixth  time  the  foot 
presses  down  a  treadle,  it  is  the  fourth  one. 

The  figures  indicate  the  number  of  times  the  foot  is 
changed  from  one  treadle  to  another.  The  space  in  which 
the  figure  is  placed  is  the  treadle  to  be  pressed  down. 

Figure  241  shows  the  Swedish  way  of  expressing  the 


126 


FOOT-POWER  LOOM  WEAVING 


Fig.  237 


10 


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Fig.  239 


Fig.  240 


Pig.  241 


Fig.  242 


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21 


THREE-HARNESS  SWEDISH  PATTERNS 


127 


pattern  known  as  the  "Goose  Eye1."  Observe  the  order  of 
(mulling.  The  treadles  are  pressed  down  in  their  order 
from  1  to  4,  then  back  to  1,  indicated  by  the  number  5; 
back  to  the  fourth  indicated  by  the  number  8;  back  to 
number  1  for  the  third  time,  indicated  by  the  number  9. 

The  second  change  consists  of  the  reverse  order  of 
treadling. 

Figure  I'll'  shows  a  four-harness  pattern  which  may 
In-  accomplished  by  using  four  treadles  or  eight  treadles. 
Observe  the  difference  in  the  tie-up.  If  four  treadles  are 
pressed  down  in  their  regular  order,  1  to  4. 
time  treadles  1,  2,  and  3  are  all  pressed 
same  time.  This  is  indicated  by  the  three 

Treadles  1,  2,  and  4  are  next  pressed  down,  indicated 
by  three  twos. 

The  next  time  treadles  1,  '.\  and  4  and  the  next  2,  3 
and  4. 

If  eight  treadles  are  used  and  tied  as  indicated  the 
work  is  more  rapidly  carried  on. 

Figure  24:5  shows  a  four-harness  loom.  The  pattern 
is  accomplished  by  tying  and  treadling  as  indicated  in 
the  draft. 

Three-Harness  Draft 

The  amateur  weaver  by  this  time  has  no  doubt  gained 
suflicicnt  knowledge  of  the  two  and  four-harness  drafts  not 
only  to  do  the  threading  successfully  but  also  to  "tie-up"' 
for  any  pattei'n  desired.  Occasionally  a  draft  appears 


Pig.  245 


Pig.  244 


Pig.  247 


Fig.  246 


128 


FOOT-POWER  LOOM  WEAVING 


which  is  written  in  three  harnesses,  as  shown  in  Fig.  215. 
When  such  is  the  case  the  upper  heddle  sticks  are  tied  as 
shown  in  Fig.  244.  The  tying  of  the  treadles  is  the  same 
as  for  patterns  already  described. 

Figure  245  shows  the  way  five  harnesses  are  tied. 

Figure  246  shows  the  tie-up  for  a  six-harness  draft 
and  Fig.  247  shows  the  tie-up  for  seven  harnesses.  Any  of 
the  above  may  be  tied  as  shown  in  Fig.  253.  The 
pulleys  used  may  be  purchased  of  any  dealer  in  hardware 
or  may  be  made  of  wood,  being  turned  on  a  wood  lathe. 

Figure  248  shows  a  plain  diagonal  weave  in  three 
harnesses.  The  threading  is  simple  and  the  tie-up  consists 
in  tying  a  treadle  to  each  lower  heddle  stick. 

The  drawing  shown  in  Fig.  244  shows  the  way  the 
upper  heddle  sticks  are  tied. 

Figure  249  shows  a  threading  quite  different  from 
that  shown  in  Fig.  248. 

The  first  thread  is  drawn  through  the  eye  of  the  first 
heddle  on  the  third  heddle  stick,  the  second  thread  through 
the  eye  of  the  first  heddle  on  the  second  heddle  stick,  the 
third  thread  goes  back  to  the  eye  of  the  second  heddle  on 
the  third  heddle  stick. 

The  next  three  threads  are  on  heddle  sticks  1  and  2. 

Figure  250  shows  the  draft  and  sample  of  an  interest- 
ing curtain  material. 

The  threading  is  done  by  following  the  draft.  The 
threads  on  harnesses  1  and  2  make  the  plain  weave.  The 
somewhat  irregular  threading  makes  the  stripe. 

When  threading  the  reed  draw  one  thread  through 
each  dent  for  the  plain  stripe. 


Fig.  248 


Fig.  249 


Skip  one  dent  and  then  draw  the  three  threads  on 
heddle  sticks  2  and  3  through  the  same  dent. 

Skip  a  dent  and  then  draw  the  one  thread  on  the  first 
heddle  sticks  through  a  dent,  skip  a  dent  and  draw  three, 
skip,  draw  one,  skip  and  draw  three,  etc. 


EIGHT-HARNESS  SWEDISH  PATTERNS 


Eight-Harness  Pattern 

Figure  251  shows  the  way  the  upper  heddle  sticks  for 
an  eight-harness  loom  are  tied.  There  are  always  as  many 
lambs  used  as  there  are  lower  heddle  sticks.  Ordinarily 
the  eight-harness  loom  works  fairly  well  when  tied  up  as 
shown  in  Fig.  251. 

The  difficulty,  if  there  is  any,  grows  out  of  the  fact 
that  the  heddle  sticks  or  harnesses  after  being  drawn  down 
refuse  to  return  to  their  original  position  when  the  foot 
releases  the  treadle.  Sometimes  weights  consisting  of  rec- 


Pig.  251 


Pig.  252 

tangular  pieces  of  iron  are  hung  at  each  end  of  the  heddle 
sticks.  These  weights  draw  the  harnesses  back  in  place 
when  raised. 

Heddle  Frames 

Sometimes  wire  heddles  are  used  instead  of  those 
made  of  cord.  The  wire  heddles  are  placed  in  wooden 
frames.  These  frames  may  be  suspended  the  same  as 
when  heddle  sticks  are  used. 

Figure  252  shows  an  eight -harness  pattern,  threading 
/  and  treadling  drafts. 

Another  Way  of  "Tie-Up" 

I-Mgnre  25.'i  shows  a  way  of  "tie-up"  that  requires  two 
sets  of  lambs.  The  second  set  of  lambs  may  be  held  in 
place  by  an  iron  rod  pushed  through  the  same  brackets  as 
hold  the  upper  lambs,  only  lower  down.  This  is  shown 


130 


FOOT-POWER  LOOM  WE  A  VING 


in  the  construction  of  the  loom.  The  loom  should  be  about 
four  inches  higher  in  order  to  give  sufficient  space  for  the 
two  sets  of  lambs.  This  may  be  brought  about  by  adding 
a  four-inch  piece  to  each  leg  of  the  loom.  For  all  ordinary 
purposes  the  original  working  drawing  of  the  loom  an- 
swers all  conditions.  By  using  this  method  the  heddle 
horses  are  done  away  with  and  each  harness  is  tied  so  it 
must  pull  either  up  or  down  when  pressure  is  applied  to 
the  treadle.  The  roller  over  which  the  heddle  horses  are 
hung  is  removed  and  replaced  by  the  apparatus  shown  at 
A  and  B,  Fig.  253.  A  detailed  section  is  shown  at  Fig. 
254.  If  an  eight-harness  loom  is  desired,  sixteen  pieces 
are  constructed  as  shown  in  Fig.  254.  Eight  of  these  are 
placed  to  the  right  upper  half  of  the  loom  and  the  other 
eight  to  the  left  upper  half.  The  various  sections  are  held 
in  place  by  a  half-inch  dowel  rod  as  shown  at  1  and  2, 
Fig.  253.  The  rods  are  supported  bj"  two  pieces  of  7-8" 
maple  constructed  as  shown  in  Fig.  255.  This  sort  of 
frame  work  replaces  the  roller  as  shown  in  the  finished 
loom  in  Fig.  256. 

The  "Tie-Up" 

Returning  to  Fig.  253,  loops  of  No.  12  blocking  cord 
are  tied  and  hung  from  each  outer  end  of  the  levers  as 
shown  at  C  and  D  in  Fig.  253.  Two  ends  of  the  cord  are 
fastened  to  each  end  of  the  upper  heddle  sticks,  as  shown 
at  E  and  F.  The  loops  and  ends  are  tied  just  the  same 
as  the  treadles  are  tied  to  the  lambs.  From  the  inner  ends 


Fig.  253 


EIGHT-HARNESS  SU'KIHtlf  PATTERNS 


131 


of  the  levers  II  and  (!.  a  piece  of  blocking  cord  is  tied,  one 
cud  to  one,  and  the  other  end  to  the  other  as  shown.  From 
each  loop  a  piece  of  blocking  cord  extends  to  the  lower  set 
of  lambs  l>y  passing  between  the  harness  and  ties  the  same 
as  all  other  connections  have  been  made.  Each  lower 
licddle  stick  ties  to  an  upper  lamb  the  same  as  in  the  two 
and  four-harness  looms.  Loops  of  blocking  cord  are  now 
drawn  through  the  holes  of  the  treadles,  one  in  each.  The 


Fig.  254 


upper  lambs  are  tied  to  the  treadles  the  same  as  in  every 
other  "tie-up,"  (lie  cord  passing  between  the  lower  lambs. 
The  lower  lambs  an-  also  tied  to  the  treadles  by  using  the 
loops  not  used  in  tying  the  upper  lambs. 

I'.y  tying  a  loom  in  this  way  all  harnesses  making  the 


pattern  are  drawn  down  while  the  other  harnesses  are 
drawn  up.  No  part  remains  stationary.  The  weights  pre- 
viously mentioned  for  drawing  the  harnesses  back  in  place 
are  no  longer  necessary.  Fig.  253  shows  only  a  four- 
treadle  loom.  This  is  done  to  avoid  complication  in  the 
explanation.  Any  number  may  be  used.  This  method  of 
tie-up  is  especially  desirable  when  an  odd  number  of  hed- 
dle  sticks  (harnesses)  is  used.  It  does  away  with  pulleys 
and  heddle  horses,  Fig.  250.  The  fact  that  each  part  of 
the  harness  must  either  pull  up  or  down  makes  a  most 
perfect  sued,  thus  avoiding  the  skipping  of  threads,  so 
'common  in  weaving  when  the  shed  is  not  perfect. 

Figure  257  shows  a  very  interesting  pattern  produced 
by  either  five  or  six  harnesses.  The  tie-up  for  each  is  given 
in  the  draft. 

The  order  of  treadling  is  indicated  by  the  figures  just 
below  the  dots  indicating  the  "tie-up." 

The  material  produced  may  he  used  in  a  counterpane 
as  well  as  in  a  bathrobe,  if  so  desired. 


Pig.  2!>5 


133 


FOOT-POWER  LOOM  WEAVING 


Pig.  250 


SIX-HARNESS  SWEDISH  WEAVES 


133 


± J 


Fig.  257 


i 

The  warp  is  run  off  in  two  colors  in  the  following 
order : 

111'  white  18  red  (12  white 

18  red  SU  white  is  red 

62  white  18  red  I1l>  white 

The  woof  is  of  both  red  and  white. 

Six-Harness  Draft 

The  secret  of  success  in  weaving  is  getting  all  parts 
"tied  up"  so  there  is  no  irregular  pulling  in  any  way. 
(I real,  care  should  ho  exercised  in  using  the  knots  in  "tie- 
up"  as  has  been  suggested.  This  will  enable  the  weaver 
quickly  to  adjust  any  irregular  pulling  without  untying 
the  hard  knots  so  often  used  by  the  amateur  weaver.  It 
lakes  some  time  to  adjust  each  part  before  arriving  at  the 
stage  where  everything  moves  smoothly. 

In  the  various  drafts  which  follow  no  attempt  has 
been  made  to  give  a  minute  description  of  each  pattern. 
The  thought  is  that  each  weaver  will  use  the  draft  best 
suited  to  the  needs  at  hand.  Among  the  patterns  given 
are  drafts  fpr  towels,  dress  goods,  coats,  upholstering,  ta- 


ble  runners,  curtains,  couch  covers,  counterpanes,  suiting, 
pillow  tops,  etc. 

The  threading,  tie-up  and  the  order  of  treadling  have 
been  so  minutely  described  that  further  explanation  is 
not  necessary.  If  possible,  the  loom  should  be  equipped 
with  the  parts  shown  in  Figs.  254  and  255,  and  placed  as 
shown  in  Fig.  256. 

For  the  regulation  four-harness  loom  the  one  shown 
in  Fig.  20  is  very  satisfactory.  It  is  well  to  start  out 
with  the  loom  just  as  shown  in  Fig.  20.  As  the  work  ad- 
vances the  various  additions  may  be  added  as  the  neces- 
sity requires. 

Six-Harness  Loom 

The  Swedish  loom,  as  described  and  illustrated  in  this 
manual,  is  constructed  in  such  a  way  as  to  permit  of  ad- 
ditional parts,  making  possible  the  production  of  many 
complicated  patterns.  The  drawing  shown  in  Fig.  253 
shows  the  construction  of  parts  which  make  easy  the 
weaving  with  six  harnesses. 

The  various  drafts  in  six  harnesses  which  follow  have 


134  FOOT-POWER  LOOM  WEAVING 

:.  _ 

been  very  carefully  worked  out  and  found  practical  iu 

every  respect.     Among  the  drafts  given  are  those  suited 

to    upholstering, .  dress    goods,    toweling,    heavy    suiting, 

coats,  etc.    The  interested  weaver  will  find  no  end  of  sug-  Fig.  259 

gestions.     This,   together   with   a   little   originality,   will 

greatly  simplify  the  working  out  of  new  and  attractive 

patterns. 

It  is  not  necessary  to  confine  the  work  only  to  certain 
materials.    Many  times  a  pattern  worked  out  in  the  finest 


Fig.  258 

of  threads  may  be  worked  out  in  a  very  course  thread  and 
made  to  serve  an  entirely  different  purpose  from  what  it 
was  originally  intended. 

To  enjoy  weaving  great  care  must  be  exercised  in  the 
"tie-up."  All  parts  must  be  made  to  pull  evenly.  To  do 
this  the  blocking  cord  must  be  used  and  the  method  of 
tying  must  be  observed  in  order  to  adjust  readily. 


Fig.   260 


Fig.   261 


SWEDISH  PATTERNS 


135 


Fig.  262 


Fig.  265 


Fig.  263 


Fig.  266 


Fig.  264 


10' 


11213 


Fig.  267 


136 


FOOT-POWER  LOOM  WEAVING 


Fig.  268 


Pig.  271 


Pig.  269 


Fig. 


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Pig.  270 


Pig.  273 


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EIGHT-HARNESS  SWEDISH  PATTERNS 


137 


Eight-Harness  Loom  Fig-  274 

The  loom  as  described  for  six  harnesses  will  answer 
(lie  description  for  the  eight  harness  loom.  The  parts 
necessary  are  described  in  Figs.  253,  254  and  255.  These 
parts  are  shown  properly  placed  in  the  complete  loom  on 
page  138,  Fig.  256. 

The  next  group  of  patterns  from  Fig.  277  to  Fig. 
424  inclusive,  concerns  the  eight-harness  loom.  The 
threading  and  tie-up  have  hern  so  carefully  described  in 
previous  patterns  that  there  can  be  no  difficulty  in  un- 
derstanding the  drafts  for  the  eight-harness  patterns  as  Fig  2?5 
here  given.  It  will  be  found  that  the  threading  for  many 
of  (lie  eight -harness  patterns  is  the  same,  the  change  in 
pattern  being  brought  about  by  a  change  in  the  tie-up. 
One  threading  therefore  makes  it  possible  to  produce  a 
variety  of  patterns  by  changing  only  the  order  of  tread- 
ling. 

Numerous  interesting  weaves  which  may  be  used  for 
upholstering,  suiting  material,  towels,  etc..  are  produced.  Fig.  276 


138 


FOOT-POWER  LOOM  WEAVING 


Fig.  277 


Fig.   280 


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Fig.   278 


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Fig.   281 


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Fig.   279 


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Fig.   282 


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SWEDISH  PATTERNS 


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Pig.  283 


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CHAPTER  VIII. 


Damask  Weave 


Damask  Weave 

Figure  425  shows  a  most  interesting  ten-harness  da- 
mask weave  which  may  be  used  in  weaving  napkins  and 
tablecloths.  The  draft  is  written  just  as  the  Norwegians 
write  it.  There  will  be  little  or  no  difficulty  in  accom- 
plishing the  weave  after  the  threading  and  treadling  are 
understood. 

It  has  already  been  stated  that  each  horizontal  line 
means  a  pair  of  heddle  sticks.  The  draft  shows  that  there 
are  ten,  divided  into  two  sections  or  groups,  marked  I 
and  II.  The  first  group  consists  of  the  first  five  harnesses 
and  the  second  group  of  the  second  five. 

The  threading  is  indicated  by  the  slanting  lines  which 
cross  the  horizontal  parallel  lines.  Each  horizontal  line 
crossed  by  a  slanting  line  means  a  thread  in  each  heddle. 

The  first  thread  passes  through  the  eye  of  the  first 
heddle  on  the  first  heddle  sticks.  Each  thread  is  taken  in 
its  regular  order,  passing  through  the  eye  of  the  first 
heddle  on  each  pair  of  heddle  sticks  from  the  first  through 
the  tenth. 

The  draft  indicates  that  this  order  is  again  repeated. 
The  threading  now  changes  and  the  heddles  on  the  first 
five  harnesses  only  are  used.  This  is  continued  for  nine 


repeats  as  shown  by  the  nine  slanting  lines.  The  third 
change  is  the  same  as  the  first,  which  threads  from  the 
first  through  the  tenth. 


n 
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Pig.  425 


The  entire  pattern  is  made  up  by  repeating  the  draft 


shown  in  Fig.  425. 


164 


DAMASK  WEAVE 


165 


Threading  the  Reed 

Each  thread  passes  through  the  eye  of  a  heddle. 
In  threading  the  reed,  three  threads  may  be  drawn 
through  each  dent.  Sometimes  when  a  large  number  of 
threads  is  used  to  the  inch,  four  threads  arc  drawn  through 
a  dent.  This  makes  it  possible  to  use  a  coarser  reed,  thus 
simplifying  the  threading. 

"Tie-Up" 

It  will  be  observed  that  each  vertical  line  indicates 
a  treadle.  These  I  readies  are  divided  into  two  groups,  I 
and  II. 

(Jroup  1  operates  the  first  five,  and  Group  II  operates 
the  second  live. 

The  treadles  are  tied  as  indicated  by  the  stars.  The 
double  set  of  lambs  should  be  used.  See  Fig.  253. 

The  treadling  is  done  by  pressing  down  the  tenth 
treadle,  then  the  ninth,  and  so  on  through  the  ten.  This 
order  is  again  repeated.  From  here  only  the  second 
group  treadles  are  pressed  down  in  their  regular  order  nine 
times.  l->om  here  the  treadling  goes  back  to  the  tenth 
through  the  ten  twice.  This  order  of  I  rcailling  is  continued 
throughout  the  entire  weaving.  The  weaver  soon  learns  to 
repeat  any  order  of  treadling  as  many  times  as  is  neces- 
sary to  produce  the  desired  effect. 

Ten-Harness  "Tie-Up" 

If  the  plan  for  "tie-up"  suggested  in  Fig.  253  is  not 
used,  the  device  shown  in  Fig.  1-Mi  is  easily  constructed  and 
used  to  work  ten  harnesses. 


Fig.  426 


Fig.  427 


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FOOT-POWER  LOOM  WEAVING 


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Pig.  428 — Eight-Harness  Damask  Weave 


The  lowest  pulley  controls  the  two  middle  harnesses, 
the  one  above  controls  the  two  harnesses,  one  at  each  side 
of  the  two  center  ones.  The  third  pulley  controls  two  other 
harnesses  in  a  similar  way  as  just  mentioned.  In  the  case 
of  two  small  pulleys  the  rope  passes  over  the  two,  one 
end  tied  to  one  harness  and  the  other  to  another.  The 
two  top  pulleys  control  the  first  and  last  harnesses. 


No  heddle  horses  are  required. 

The  drawing  shown  in  Fig.  427  shows  the  ropes  tied 
to  one  end  of  the  heddle  sticks. 

Figure  428  shows  the  draft  for  an  eight-harness  da- 
mask weave  written  in  the  Swedish  way.  In  this  draft 
the  space  between  two  lines  represents  a  pair  of  heddle 
sticks. 


EIGHT-HARNESS  DAMASK  \VKAVE 


167 


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A 

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peated  depends  upon  the  width  the  material  is  to  be  when 

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finished.     After  the  center,  or  body,  has  been  threaded  the 

4 

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432 

desired  number  of  times,  the  border  is  ajjain  threaded. 

4 
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Number  of  Threads 

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In  doinji'  work  of  this  kind  there  should  be  at    least 

3 

2 

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432 

•1.1  threads  used   to  an   inch.     A   number  15  reed  may  be 

4 

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432 
432 

used,  drawing  three  threads  through  each  dent. 

4 

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"Tie-Up" 

4 
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2 
2 

i 
i 

4321 

Figure  L'51   shows  one  way  to  tie  up,  usiui;  one  set  of 

4 

3 

2 

1 

4321                         lambs. 

'*• 
4 

3 

2 

i 

i 
i 

4  3  9.  i 

4,.                                         Figure   lT>:!    shows    the   double   set    of    lambs.       If    the 

4 

3 

I 

i 

double  set    of   lambs   is   used   the  dots   indicate  the  upper 

4 
4 

O 

3 

2 
2 

i 
i 

lambs  tied  to  the  treadles.     The  squares  without   dots  in- 

dicate the  lower  lambs  tied   to  the  treadles.     This  method 

The  threading  begins  at   the  rijjht   and 

is  reai    to\\ard           nf  "tie-up"  has  already  been  explained. 

the  left.     When   tlie   lirst    part    is  threaded.  l>e»-iii  at   the 

left   (!r  the  second.                                                                                                                                 Order  of  Treadling 

The  arrow  indicates  the  end  of  the  border.                                         The  lifjures  just  below  the  dots  indicating  the  "tie-up" 

The   center    begins    with    the   arrow   and    includes   all           show   the  order  in    which   the  treadles  are  pressed   down. 

168 


FOOT -POWER  LOOM  WEAVING 


H 


•d 
o 


u 
u 


«    t 


0 

PR 


bo 

E 


OX  O^ 


fO  con  coco  rO 


lr>  <O  WTO  IO  «">  to  IO  >O  w->  1.0  >o 


04  <S  <MO) 


fO  CO  <O  O 


WHO  "oK->  VTO  W>"O 


DAM  AUK  WEAVE 


169 


Pig.  431 


Fig.  432 


Pig.  433 


Pig.  434 


Tliis  has  already  liccn  explained  in  detail. 

Fiji'ure    ll".l  shews  another   interesting  damask   weave 
done  with  eight  harnesses  and  cijjlit  treadles. 


The  lie-ii|)  is  indicated  by  the  dots  and  the  order  of 
treadling  by  figures  just  below  the  dots.  The  "tie-up"  may 
lie  with  tl ne  set  of  lambs  or  with  the  doubh  set. 

The  body  part  of  (lie  threading  is  repeated  as  many 


170 


FOOT-POWER  LOOM  WE  A  VING 


times  as  is  necessary  to  give  the  desired  width.    The  border 
also  ma}-  be  repeated  several  times. 


Fig.  435 


Pig.  436 


Figure  430  shows  the  threading  for  a  ten-harness  da- 
mask weave.     There  are  three  arrangements  shown.     The 


tie-up  and  order  of  treadling  are  given  for  the  first  one  only. 
The  weaver  has,  no  doubt,  learned  by  this  time  that  the 
threading  indicates  the  treadling. 

While  Figs.  431,  4:52,  433,  and  434  do  not  show  the 
regular  damask  weave,  they  do  show  good  examples  of 
linen  toweling  and  even  good  examples  of  materials  that 
might  be  used  in  upholstering.  The  threading  and  "tie-up" 
for  Fig.  431  and  Fig.  432  are  the  same.  The  difference  in 
pattern  is  brought  out  by  a  difference  in  the  order  of 
treadling. 

The  stars  on  the  vertical  lines  indicate  the  order  of 
treadling. 

The  threading  and  "tie-up"  for  Fig.  433  and  Fig.  4:54 
are  the  same.  The  difference  in  pattern  is  brought  out 
by  a  difference  in  treadling. 

Figure  435  shows  a  very  good  diagonal  weave  in  eight 
harnesses.  While  this  draft  is  not  good  for  toweling,  ere., 
it  is  exceptionally  good  for  coats,  suiting,  etc.  The  thread- 
ing, ''tie-up"  and  treadling  are  all  read  from  Fig.  435. 

Figure  43(i  is  a  most  excellent  draft  for  linens.  It  is 
not  a  damask  weave  but  very  satisfactory  when  used  in 
towels.  Threading,  tie-up,  and  treadling  are  all  read  from 
the  draft. 

Table  Mat 

Figure  43S  shows  a  table  mat  woven  of  Xo.  3  mercer- 
ized cotton  warped  in  two  colors.  The  draft  shown  in  Fig. 
437  indicates  only  two  changes  in  the  grouping  of  the 
threads.  The  colors  used  are  iireeu  and  golden  brown. 


\VKAVING  TABLE  MAT 


171 


ABAABABA   ABAABABAABAABA 


Fig.  437— Table  Mat.    Draft  of  Pattern 


The  selvage  is  of  green.  The  lirst  group  of  four  threads, 
marked  "A."  is  of  golden  brown. 

The  next  four  tin-ends,  marked  "15,"  are  green. 

Tliis  is  repeated  three  times,  first  A  and  then  H. 

It  will  be  observed  thai  I  lie  threads  run  in  groups  of 
four,  A  always  being  of  golden  brown  and  1?  of  green. 

Figure  -l:'.S  requires  HIS  threads  of  two  colors  to  be 
warped  as  above  described,  a  number  L'll  reed,  one  pal  tern 
thread  to  a  dent  and  two  selvage  threads  to  a  dent  of  the 
lirst  four  and  the  last  four  dents  of  the  draft. 

The  woof  is  the  same  material  as  the  warp,  a  No.  '! 
mercerized  cotton.  The  binder  must  be  a  much  liner 
thread  and  of  a  different  color.  Fur  the  above  colors,  an 
orange  binder  \\orks  in  very  harmoniously. 

The  pattern  lambs  are  tied  in  the  following  order: 

1   and  -2  to  the  lirst   treadle. 

:>  and  li  to  the  second  treadle. 

1  and  4  to  the  third  treadle. 

:;  and   1  to  the  fourth  treadle. 


The  plain  weave  is  done  by  tying  lambs  1  and  3  to 
the  right  middle  treadle,  and  •!  and  4  to  the  left  middle 
treadle. 

Figure  43S,  showing  the  finished  mat,  will  give  the 
weaver  an  idea  of  the  way  in  which  the  treadles  are  op- 
erated to  produce  the  design  as  given.  The  vertical  bands 
are  unchangeable.  The  horizontal  bands  may  be  made 
any  width  by  repeating  \--  and  '•'>--.  always  using  the  binder 
after  each  pattern  thread. 

The  other  combinations  are    1-4   and   3-4. 

The  woof  is  all  of  the  same  color. 

It  is  the  way  the  warping  is  done  and  the  treadling 
that  makes  the  pattern. 

The  table  mat  has  the  etl'ect  of  double  weaving  done 
with  four  harnesses.  It  is  really  a  six-harness  pattern  re- 
duced to  four.  A  little  experimenting  will  suggest  a  very 
great  variety  of  combinati<  us  of  stripes  and  squares  which 
the  operator  may  work  out.  The  combination  of  thread- 


FOOT-POWER  LOOM  WEAVING 


Fig.  438— Finished  Mat 


Fig.  439— Finished  Rug 


WEAVING  WOOL  RUGS 


173 


ing  may  he  varied  so  as  to  produce  most  interesting  pat- 
terns. 

Rug  Weaving  in  Wool 

Figure  4:!'.l  shows  another  kind  of  double  weave.  Tin- 
weave  in  Fig.  4;>S  requires  a  hinder,  while  the  finished  rug 
shown  in  Fig.  4.'!!t  dees  not  require  a  binder  of  any  kind. 

Figure  440  shows  the  draft. 

The  draft  requires  240  threads.  This  allows  for  six 
selvage  threads  al  the  beginning  and  the  end.  Three  selv- 
age threads  are  drawn  through  the  eye  of  a  heddle  at  one 
time.  Only  two  heddles  are  used  for  the  selvage.  In 
threading  the  selvage  through  the  reed,  draw  three  threads 
through  each  of  the  two  dents.  The  warp  is  of  ordinary 
four-ply  carpet  warp. 

The  threading  is  done  as  shown  in  the  draft,  care  be- 
ing taken  to  repeat  the  number  of  times  as  indicated. 

There  are  alxnit  seven  threads  to  the  inch. 

Se/vtge 


cf          £.x          2x          ox  2x  8x          2<         ZX  ox 

Fig.  440— Draft  for  Rug 

Since  the  No.  l.~>  reed  is  already  in  stock  it  may  be 
used  for  the  rug  at  hand,  a  thread  being  drawn  through 
every  other  dent  of  the  reed. 

The  draft  shows  that  there  are  six  harnesses.  It  re- 
quires but  four  treadles  to  operate  the  six  harnesses,  which 
are  tied  in  the  following  way: 

Lambs  2,  :'>  and  4  are  tied  to  the  first   treadle. 


Lambs  3,  4  and  5  are  tied  to  the  second  treadle. 

Lambs  1.  '.\  and  .">  are  tied  to  the  third  treadle. 

Lambs  2,  4  and  (i  are  tied  to  the  fourth  treadle. 

The  double  "tie-up"  suggested  in  Fig.  25:5  may  be  used 
to  advantage  in  weaving  this  particular  pattern. 

To  produce  the  pattern  shown  in  Fig.  I.",'.!,  two  shut- 
tles are  used,  one  with  a  bobbin  of  white  wool  and  one  with 
a  bobbin  of  blue  wool.  The  wool  used  is  similar  to  that 
used  in  kindergarten  weaving.  It  is  a  kind  of  carpet  yarn. 
It  is  almost  as  heavy  as  cotton  roving. 

Operating  of  Treadles 

Treadle  four  is  pressed  down  and  the  shuttle  contain- 
ing the  blue  is  passed  tli rough  the  shed.  Treadle  one  is 


174 


FOOT-POWER  LOOM  WEAVING 


1 

1 

1 

1 

1 

I 

I 

I 

1 

1 

I 

I 

1 

•(L 

I 

1 

1 

1 

A 

1 

1 

1 

1 

5 

Fig.  442— Sea  Shell.     Draft  of  Pattern 


next  pressed  clown  and  the  white  thread  is  passed  through 
the  shed. 

Treadle  two  is  next  pressed  down  and  the  blue  used. 
Treadle  three  is  pressed  down  and  the  white  passed  through 
the  shed.  This  order  of  treadling  is  continued  throughout 
the  weaving  of  the  entire  rug  shown  in  Tig.  439. 

Figure  441  shows  the  same  threading,  hut  a  different 
order  of  treadling.  Instead  of  using  blue  and  white  for 
the  woof,  tan  and  brown  arc  used.  The  weaving  is  started 
in  the  same  way  as  in  Fig.  439. 

After  the  band  of  one  color  is  as  wide  as  is  desired, 
the  opposite  color  is  made  to  reverse.  This  change  is 
brought  about  by  passing  the  same  color  through  the  shed 
twice.  The  order  of  treadling  is  exactly  the  same. 

Sea  Shell  Pattern 

The  draft  shown  in  Fig.  44:2  is  that  of  a  six-harness 
loom. 

The  draft  shows  that  ten  treadles  arc  required  to  pro- 
duce the  pattern  shown  in  Fig.  443. 


It  requires  148  threads  for  one  repeat. 

The  warp  is  of  a  two-ply  Xo.  30  Egyptian  twine,  and 
the  woof  is  of  a  Xo.  5  mercerized  cotton.  There  are  thirty 
threads  to  the  inch  drawn  through  the  dents  of  a  Xo.  15 
reed,  two  threads  to  the  dent. 

The  lambs  are  tied  lo  the  lower  heddle  sticks. 


The  lambs  are  tied  to  the  treadles  in  the  following 


order 


Lambs  1  and  3  are  tied  to  the  first  treadle. 
Lambs  2  and  3  are  tied  to  the  second  treadle. 
Lambs  1  and  4  are  tied  to  the  third  treadle. 
Lambs  2  and  4  are  tied  to  the  fourth  treadle. 
Lambs  1  and  5  are  tied  to  the  fifth  treadle. 
Lambs  2  and  5  are  tied  to  the  sixth  treadle. 
Lambs  1  and  (!  are  tied  to  the  seventh  treadle. 
Lambs  2  and  <>  are  tied  to  the  eighth  treadle. 
The  plain  weave  is  done  by  tying : 
Lambs  1  and  2  to  the  right  middle  treadle. 
Lambs  3,  4,  5  and  G  to  the  left  middle  treadle. 


DAMASK  WEAVES 


175 


Figure  14;$  shows  the  finished  Sea  Shell.  It  is  a  close 
weave  and  may  be  used  for  window  side  drapes,  pillow  tops, 
table  runners,  and  because  of  the  closeness  of  the  weave 
it  may  very  successfully  be  used  in  upholstering. 

It  is  perhaps  the  most  difficult  to  weave  because  of 
(he  six  harnesses  and  ten  treadles.  If  the  double  "tie-up" 
suggested  in  Fig.  !'.">:•  is  used,  there  will  be  no  difficulty  in 
securing  a  good  shed. 

Any  shade  of  Xo.  o  mercerized  cotton  may  be  used. 

The  draft  itself  indicates  the  order  of  treadling.  It 
will  be  remembered  that  each  dark  square  indicates  a  wool 
thread.  In  the  first  combination  of  threads  1  and  3  are 
given.  This  means  that  the  treadle  controlling  harnesses 
1  and  .'{  is  pressed  down  twice  for  the  pattern  threads  with 
a  binder  after  each  pattern  thread.  Since  this  method  of 
expressing  the  reading  of  a  draft  has  previously  been  most 
carefully  explained  it  will  not  be  necessary  to  again  go  into 
detail  at  this  time. 

The  six  harness  patterns  do  not  require  to  be  woven 
so  finely  as  the  four  harness  designs.  A  number  24  reed, 
one  thread  to  the  dent,  makes  a  very  fine  fabric. 

Figure  1 1  I  shows  the  draft  for  what  is  known  as  the 
"Virginia  I.eauty",  to  be  transposed  into  a  six-harness 
draft. 

To  do  this  let  the 

Combination  l-4=Combination  1-t!  and  1MJ. 
Combination  .'{-(--Combination  !-."»  and  '2~>. 
Combination  :!-.'{— -Combination  1-1  and  J-l. 
c(  mbination  \-'2  -Combination  1-:!  and  '2-',\. 
right  through  the  draft,  with  the  following  draft,  Fig.  1C. 
as  a  result. 


Fig.  443— Sea  Shell 


176 


FOOT-POWER  LOOM  WEAVING 


Pig.  444 — Virginia  Beauty.     Four  Harness 


Fig.  445 — Virginia 


The  Tie-Up 


The  tie-up  for  the  pattern  is  found  in  the  same  way  as. 
for  four  lieddle  drafts. 

1-6  is  tied  to  the  first  treadle. 

2-6  is  tied  to  the  second  treadle. 

1-5  is  tied  to  the  third  treadle. 

2-5  is  tied  to  the  fourth  treadle. 

1-4  is  tied  to  the  fifth  treadle. 

24  is  tied  to  the  sixth  treadle. 

1-3  is  tied  to  the  seventh  treadle. 

2-3  is  tied  to  the  eighth  treadle. 

Tie-up  for  the  plain  weave  is  as  follows: 

1-2  to  the  rjght  middle  treadle. 

3-4-5-6  to  thi^left  middle  treadle. 

To  Transpose  a  Four  Heddle  to  a  Six  Heddle  Draft 

Designs  best  suited  to  transpose  from  four  to  six 
heddles  are  those  written  in  two's,  four's,  and  eight's,  or 
even  multiples. 


Beauty.     Six  Harness 

The  designs  written  in  3's,  5's,  7's,  or  9's,  or  where 
those  multiples  appear  in  the  design,  are  more  complicated 
if  transposed  as  written.  The  simplest  way  is  to  make 
such  a  draft  over  so  that  it  reads  in  2's,  4's,  8's,  etc. 

In  re-arranging  a  draft  an  additional  one  or  two  may 
have  to  be  added  or  the  draft  may  be  reduced  for  a  smal  lei- 
design. 

The  plain  weave  is  found  by  checking  through  the 
draft,  allowing  the  heddle  stick  that  contains  every  other 
thread  tie  to  one  treadle  and  the  opposite  half  of  the 
threads  tie  to  the  other  middle  treadle. 

For  example — the  first  thread  appears  on  heddle  No. 
1.  The  next  thread  is  on  heddle  No.  6.  One  and  six  can- 
not be  used  together  in  the  plain  weave  because  two 
threads  would  be  brought  down  together. 

The  third  thread  is  on  the  second  heddle.  The  first 
and  third  threads  may  be  used  together  because  the  second 
thread  which  is  on  heddle  No.  6  comes  between.  Checking 
through  the  draft  the  plain  weave  is  found  to  be  as  above 
stated. 


CHAPTER  IX. 


Double  Weave 


Double  weaving  is  one  of  the  most  interesting  phases 
of  the  art  of  weaving.  It  is  a  branch  of  the  work  that  ama- 
teur weavers  know  the  least  about.  It  is  difficult  to  under- 
stand just  how  the  weavers  of  many  years  ago  controlled 
the  number  of  harnesses  necessary  to  produce  the  seem- 
ingly complicated  patterns  found  in  old  counterpanes  pos- 
sessed by  many  of  the  old  settlers. 

Plain  double  cloth  of  separate  colors  can  be  woven  on 
a  loom  with  a  harness  of  four  heddles,  but  the  warp  must 
be  specially  arranged  for  the  purpose. 

If  it  be  decided  to  make  one  cloth  black  and  the  other 
white,  the  warj)  must  be  so  made  that  the  threads  on  the 
warp  beam  are  black  and  white.  This  is  easily  done  while 
reeling  the  warp.  The  spools,  black  and  white,  may  be  so 
arranged  on  the  spool  rack  that  the  black  and  white 
threads  alternate.  The  placing  of  the  warp  on  the  beam  is 
the  same  as  for  all  other  kinds  of  weaving. 

Entering  the  Double  Warp  in  Harness 

There  are  four  heddles  hung  in  the  usual  way.  The 
warp  of  black  and  white  threads  is  entered  the  same  as 
when  threading  any  four  heddle  loom,  as  shown  in  Fig.  44(i. 


The  first  thread  is  black  and  passes  through  the  eye 
of  the  first  heddle  oil  the  fourth  heddle  sticks.  It.  will  be 
fouiid  that  all  the  threads  on  the  fourth  heddle  sticks  will 
be  black. 


Fifi.  446 

The  third  heddle  sticks  will  carry  all  white,  the  second 
all  black  and  the  first  all  white. 


177 


178 


DOUBLE  PATTERN  WEAVING 


Weaving  Double  Cloth 

It  requires  two  shuttles  to  weave  double  cloth,  one  for 
the  white  thread  and  the  other  for  the  black. 

When  all  is  ready,  weaving  begins  by  drawing  down 
all  the  white  thread  and  half  the  black,  as  shown  in  Fig. 
44G,  treadle  4.  A  black  thread  is  now  passed  through  the 
shed,  thus  formed.  This  begins  the  black  cloth  and  is  on 
the  upper  side  of  the  weaving.  The  white  cloth  is  to  be 
formed  on  the  underside.  In  order  to  bring  this  about 
one-half  the  white  threads  are  drawn  down,  the  other  half 
of  the  white  and  all  the  black  remaining  up,  as  shown  in 
Fig.  446,  treadle  3. 

A  white  thread  is  now  passed  through  the  shed. 

The  next  thread  in  the  plain  cloth  is  to  be  a  black 
one.  To  do  this  all  the  black  threads  left  up  in  treadle  4 
must  be  brought  down  together  with  all  the  white  threads, 
as  shown  in  treadle  2.  A  black  thread  is  now  passed 
through  the  shed. 

The  fourth  thread  must  be  another  white  one.  The 
required  shed  is  made  by  bringing  down  the  white  threads 
not  brought  down  by  treadle  3.  By  pressing  down  treadle 
1,  the  right  shed  is  made  and  a  white  thread  is  passed 
through.  If  this  order  of  treadling  is  followed,  a  double 
cloth  is  woven  which  is  black  ou  the  top  and  white  below. 

Double  Pattern  Weaving 

To  understand  double  pattern  weaving  it  is  best  to 
lirst  thread  a  loom,  as  described  in  the  weaving  of  plain 
double  cloth. 


Through  experimenting  with  the  plain  double  tie-up 
one  learns  that  only  plain  double  cloth  can  be  woven. 

In  other  words,  no  change  is  possible.  The  cloth 
throughout  is  black  on  one  side  and  white  on  the  other. 
To  produce  a  change  it  will  be  necessary  to  add  four  more 
heddles. 

Figure  447  shows  a  double  woven  pattern  which  may 
be  produced  with  8  heddles,  four  of  which  will  give  the 
black  squares  and  four  the  white.  The  draft  written  below 
the  pattern,  Fig.  447,  is  written  out  in  full,  while  the  draft 
at"  the  right  is  very  much  condensed,  thus  using  less  space. 

The  Warp 

The  warp  may  be  of  the  regular  four-ply  carpet  warp 
in  two  colors.  It  is  reeled  and  handled  throughout  as  de- 
scribed in  the  weaving  of  plain  double  cloth.  There  should 
be  from  32  to  30  threads  per  inch,  one-half  being  white  and 
the  other  half  black.  Two  threads,  one  black  and  one 
white,  are  drawn  through  each  dent  of  a  number  1(5  or 
18  reed. 

The  Threading 

The  draft  below  Fig.  447  is  so  written  as  to  show  the 
number  of  threads  that  produce  each  part  of  the  finished 
pattern.  The  little  black  square  in  the  lower  left  hand 
corner  of  the  finished  pattern  is  taken  care  of  by  the  first 
four  threads  in  the  draft.  The  little  white  square  above 
it  is  taken  care  of  by  the  second  four  threads.  This  is 
repeated  four  times.  In  the  condensed  form  at  the  right 
this  part  of  the  draft  is  expressed  by  using  a  brace  with 


180 


FOOT-POWER  LOOM  WEAVING 


the  figures  telling  the  number  of  times  this  order  of  threads 
is  to  be  repeated. 

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> 

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C~ 

r 

> 

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f     \ 

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> 

f 

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V    / 

h 

f 

i 

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/     > 

i^iuL  r\ 
f-  Whit<? 

/  s 

f 

> 

V 

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v  7 

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k  y 
« 

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f 

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f      N 

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Whit? 

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k 

X 

1     y 

X 

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V      S 

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p 

Fig.  448  Tie-Up 

Observe  the  threading-  for  the  long  narrow  strip  of 
black.  Only  heddles  8,  7,  6,  and  5  are  used.  The  white 
strip  above  is  cared  for  by  using  only  heddles  4,  3,  2,  and  1. 
Note  the  way  the  changes  and  the  repeats  are  expressed 
in  the  condensed  way  of  writing  the  draft. 

The  weaver  must  remember  that  the  horizontal  spacing 
in  any  design  is  controlled  by  the  number  of  times  a  cer- 


tain portion  of  the  draft  is  repeated.    The  vertical  spacing 
depends  upon  the  number  of  woof  threads. 

The  draft  at  the  right  tells  in  a  very  simple  way  the 
whole  story  of  the  pattern  at  hand.  The  heddle  sticks  are 
numbered  at  the  left  of  the  threading  draft.  The  treadles 
are  numbered  at  the  top.  Just  below  is  the  treadling  for 
the  front  border.  The  first  treadle  is  pressed  down  and 
a  white  thread  is  passed  through  the  shed.  The  second 
treadle  is  pressed  down  and  a  black  thread  is  passed 
through  the  shed.  The  3rd,  4th,  5th,  6th,  7th  and  8th  are 
taken  in  their  regular  order.  This  order  of  treadling  is  re- 
peated four  times.  The  remainder  of  the  treadling  draft 
is  shown  to  the  left. 

Tie-Up 

The  tie-up  part  of  the  draft  shows  that  heddles  8,  7,  G 
and  3  are  tied  to  the  first  treadle,  heddles  8,  4,  3  and  1  to 
the  second  treadle,  etc. 

The  black  squares  simply  tell  the  black  heddles  and 
the  cross  the  white  heddles  tied  to  a  certain  treadle.  At- 
tention is  called  to  the  fact  that  all  the  white  threads  are 
on  heddle  sticks  1,  3,  5  and  7,  while  all  the  black  threads 
are  found  on  heddle  sticks  2,  4,  G  and  8. 

Explanation  of  Tie-Up 

In  order  to  work  intelligently  the  one  operating  the 
loom  should  understand  the  reasons  for  tying  certain  hed- 
dles to  certain  treadles.  For  convenience  the  treadles  may 
be  grouped  as  shown  in  Fig.  448  and  marked  I  and  II. 
The  harnesses  may  also  be  grouped  and  marked  I  and  II. 


DOUBLE  PATTERN  WEAVING 


181 


The  black  and  white  squares  at  the  right  mark  the  color 
of  the  threads  carried  by  the  various  harnesses.  The  let- 
ters at  the  top,  Fig.  448,  indicate  the  color  of  the  threads 
to  be  used  as  the  filler.  For  example,  a  white  thread  is 
passed  through  the  shed  formed  by  pressing  down  the  first 
treadle  to  the  right.  A  black  thread  is  used  with  the  sec- 
ond treadle  to  the  right,  etc. 

Since  there  are  but  two  changes  in  the  pattern,  the 
treadling  draft  is  made  out  in  the  following  manner.  Do 
not  become  confused  by  considering  the  whole  pattern  but 
take  only  the  large  square  of  black  in  the  lower  right  hand 
corner  and  the  white  rectangle  above  it. 

These  two  represent  the  two  changes. 

Four  harnesses  and  four  treadles  are  ifecessary  for 
each  change. 

To  weave  in  the  first  white  thread  of  the  white  square 
beneath  the  large  black  one,  it  will  be  necessary  to  draw 
up  all  the  black  threads  in  this  particular  square  and  half 
the  white  throughout  the  pattern. 

In  group  I,  Fig.  448,  to  the  right,  both  black  tin-ends 
are  drawn  up  ;is  indicated  by  the  crosses  opposite  the  black 
squares.  The  first,  white  is  drawn  up,  the  second  white  is 
left  down,  the  next  white  is  brought  up,  the  last  white  left 
down. 

The  second  filler  thread  is  to  be  black. 

To  produce  this  all  the  white  threads  in  group  I, 
treadle  2,  must  be  left  down,  which  is  so  indicated  by  the 
crosses  on  treadle  -,  (iron])  I;  half  of  the  black  are  up 
throughout  the  pattern.  It  is  always  true  that  when  a 


Pig.  449 


182 


FOOT-POWER  LOOM  WEAVING 


black  thread  passes  through  the  shed,  half  of  the  black 
threads  are  up  and  the  other  half  down.  When  a  white 
thread  passes  through  the  shed  half  of  the  white  threads 
throughout  the  pattern  are  up  and  the  other  half  down. 
Cai'e  must  be  exercised  in  not  drawing  up  the 'Same  threads 
in  two  successive  white  woof  threads  or  two  black. 

The  third  filler  thread  is  a  white  and  is  woven  in  be- 
low the  black  square.  All  the  black  must  be  drawn  up  out 
of  the  way,  as  is  indicated  in  Group  I,  third  treadle.  Half 
of  the  white  must  be  drawn  up.  It  is  here  that  care  must 
be  taken  not  to  take  the  same  white  as  was  taken  when 
weaving  in  the  last  white  thread.  The  second  white  thread 
is  therefore  drawn  up  and  every  other  white  thread 
throughout  the  pattern.  The  remaining  black  threads  are 
left  down  as  indicated  on  the  third  treadle.  The  fourth 
thread  is  black ;  therefore  all  the  white  threads  in  Group 
I  are  left  down.  All  the  other  white  threads  are  brought 
up.  Half  of  the  black  are  up.  The  first  black  at  top  treadle 
-1  is  left  down  because  it  was  brought  up  on  treadle  2.  The 
second  black  thread,  Group  I,  is  brought  up  and  every 
other  black  thread  throughout  is  brought  up  as  is  indicated 
on  treadle  4,  Group  I.  The  treadles  in  Group  I,  when  used 
in  their  regular  order,  produce  the  large  square.  The  or- 
der must  be  repeated  until  the  desired  square  is  woven. 

Group  II 

Group  II,  Fig.  448,  which  is  indicated  by  the  dotted 
lines,  takes  care  of  the  smaller  black  square.  The  first 


thread  of  the  white  square  beneath  the  black  is  white  and 
is  woven  in  by  raising  all  the  black  threads  in  the  group, 
treadle  5,  and  half  the  Avhite  as  indicated.  Consider  at 
present  only  that  part  of  the  tie-up  within  the  dotted  lines 
and  marked  Group  II. 

In  order  to  find  the  white  threads  to  be  raised  it  is 
necessary  to  refer  to  treadle  No.  3.  It  is  found  that  the 
lowest  white  thread,  Figure  448,  was  last  raised.  Treadle 
5  must  leave  this  white  thread  down.  When  all  the  blacks 
or  whites  in  a  certain  group  are  used  all  the  others  are 
left  down. 

Treadle  No.  6  carries  a  black  thread.  All  the  white 
threads  in  Group  II  are  left  down,  all  the  others  outside 
the  group  are  raised.  Every  other  black  thread  within  the 
group  and  also  those  outside  the  group  are  raised  as  indi- 
cated on  treadle  6. 

Treadle  7  carries  a  white  thread. 

All  the  blacks  within  the  group  are  raised.  All  blacks 
outside  the  group  are  left  down.  Half  the  whites  within 
and  outside  the  group  are  raised. 

Treadle  No.  8  carries  a  black  thread ;  therefore  all  the 
whites  in  Group  II  n)ust  be  down.  All  the  other  whites 
must  be  raised.  Every  other  black,  both  within  and  out- 
side the  group  must  be  raised. 

It  is  now  evident  that  the  treadles  in  Group  II  when 
repeated  over  and  over  will  produce  the  second  change  in 
the  pattern. 


DOUBLE  WEAVING 


183 


The  Loom 

The  loom  used  for  double  weaving  should  be  equipped 
with  the  double  set  of  lambs  and  the  overhead  fixtures,  as 
shown  in  Figs.  253,  254  and  255. 

P.v  this  arrangement  no  part  of  the  harness  remains 
stationary,  but  is  pulled  either  up  or  down,  thus  producing 
a  good  shed.  One  great  difficulty  in  having  but  one  set  of 
lambs  is  that  the  heddles  do  not  return  to  their  original 
position  after  being  pulled  down. 

This  is  specially  true  when  the  harness  consists  of 
eight  or  more  heddles. 

Other  Materials 

In  most  of  the  old-time  double  woven  counterpanes  the 
colored  warp  is  of  wool  while  the  white  is  cotton.  It  has 
been  found  practical  to  make  the  entire  warp  of  cotton, 
using  the  desired  colors.  The  colored  woof  may  be  of  wool. 

If  both  wool  and  cotton  are  used  there  should  be  two 
distinct  warps,  the  one  of  wool  being  placed  on  one  warp 
beam  and  the  one  of  cotton  placed  on  another  beam.  The 
beams  may  l>e  placed  as  shown  in  Fig.  449.  An  extra  pair 
of  warp  beam  brackets  is  placed  below  the  pair  already  on 
the  loom.  Pegs  are  used  just  above  the  ends  of  the  lower 
beam  to  prevent  it  from  being  drawn  upward  as  the  war]) 
is  tightened.  See  A,  Fig.  44!t. 

The  two  beams  are  absolutely  necessary  unless  the 
wool  used  has  a  very  hard  twist,  thus  preventing  it  from 
stretching. 

The  separate  beams   make   it    possible   to   tighten    the 


8765432 


6x  An 

REPEAT  FROM  ARROW 


6x 


Pig.  450 

wool  beam  to  meet  the  tension  of  the  white  warp. 

When  two  l>eams  are  used  il  is  best  to  place  the  warp 
of  wool  on  the  upper  beam.  Separate  lease  rods  are  used 
and  ends  of  the  white  warp  are  carried  right  over  the  blue 
warp  beam. 


184 


FOOT-POWER  LOOM  WEAVING 


I2x  Zx  2x   2x 

Repeat  from  Arrow 


E»    2x 


Pig.  451 

When  threading,  a  thread  is  first  taken  from  the  blue 
and  then  from  the  white  beam.  A  very  superior  thread 
for  double  weaving,  known  as  Swiss  Tidy  cotton,  number 
12  or  15,  may  be  purchased  of  the  Western  Thread  Com- 
pany, Elgin,  Illinois. 


This  thread  may  be  had  either  bleached  or  unbleached. 

Figure  450  shows  a  very  simple  eight  heddle  pattern. 
The  threading  draft  is  written  above  the  pattern  and  the 
treadling  draft  is  written  at  the  left.  The  tie-up  is  shown 
to  the  left  of  the  threading  draft.  The  black  squares  and 


Fig.  452 

crosses  show  the  number  of  black  and  the  number  of  white 
heddles  tied  to  eacli  treadle. 

Figure  451  shows  another  interesting  eight  heddle  dou- 
ble weave.  The  entire  threading  and  also  the  treadling 
drafts  are  written  in  the  condensed  form. 

It  will  be  observed  that  the  first  part  of  each  treadling 
draft  takes  care  of  the  front  border. 

If  a  pillow  top  is  desired  the  border  must  be  repeated 
around  the  entire  center. 

The  borders  at  the  sides  must  be  cared  for  in  the 


DOUBLE  WEAVING 


185 


Left  Border 


Border 


6x     6x      1x      llx      Ix      €>x      6x     6* 
Re f>e<jfjU3t6e/ore/e/S  Border 

Fig.  453— Double  Weave  Draft 


threading.  The  front  and  back  borders  are  made  by  fol- 
lowing the  treadling  draft.  When  two  strips  are  to  be 
sewed  together,  it  is  necessary  to  care  for  the  border  along 
one  side  only. 

Figure  ir>2  shows  another  interesting  series  of  squares 
and  oblongs  arranged  so  as  to  form  a  pleasing  pattern. 

Material 

I  "se  a  No.  12  Swiss  Tidy  Cotton  in  blue  and  white, 
forty  threads  to  the  inch,  twenty  of  which  are  white  and 
twenty  blue. 

I'se  blue  wool  for  the  tiller  I  woof)  and  white  cotton 
the  same  as  was  used  in  the  warp. 

Threading  the  Reed 

I  se  a  number  20  reed,  drawing  a  blue  and  a  white 
thread  through  each  dent. 

The  threading  in  this  draft  is  indicated  by  white  and 
black  disks  placed  on  the  lines  representing  the  different 
heddles. 


The  Tie-Up 

I 

The  tie-up  is  indicated  by  stars  placed 
where;  the  lines  representing  the  heddles  and 
those  representing  the  treadles  cross.  Fig. 
453. 

Treadling 

The  light,  and  heavy  dashes  on  the  ver- 
tical lines  indicate  the  order  of  treadling. 
Fig.  453. 

Fig.  45:',  also  tells  the  weaver  that  when 
a  treadle  on  which  a  light,  dash  appears  is 
pressed  down,  a  white  thread  passes 
through  the  shed.  A  heavy  dash  indicates 
that  a  blue  thread  passes  through  the  shed. 

In  weaving,  two  shuttles  are  required,  one  with  a  bob- 
bin of  blue  and  the  other  with  a  bobbin  of  unbleached  Swiss 
Tidy  Cotton. 


i '" 


186 


FOOT-POWER  LOOM  WEAVING 


The  first  treadle  to  the  right  in  group  I  is  pressed 
down  and  a  white  thread  passes  through  the  shed.  The 
second  treadle  is  pressed  down  and  a  blue  wool  thread  is 
passed  through  the  shed.  The  third  treadle  is  pressed  and 
a  white  thread  passes  through.  The  fourth  treadle  is 
pressed  and  a  blue  thread  passes  through.  The  next  treadle 
pressed  down  is  the  first. 


n 

i 


TT 


Pig.  454 


The  front  border  is  made  by  repeating  the  first  two 
changes  in  the  treadling  draft. 

The  weaver  must  use  his  own  judgment  in  the  number 
of  wool  threads  to  use. 

Figure  454  shows  the  Danish  way  for  writing  an 
eight  heddle  draft  for  double  weaving.  The  threading  re- 
sembles that  of  the  Damask  weave. 


Double  Weaving  with  More  Than  Two  Changes 
Figure  455  shows  a  double  woven  pattern,  involving 
four  changes. 

Analysis  of  Pattern 

The  process  of  analyzing  a  double  woven  piece  of 
cloth  is  more  simple  than  that  of  the  ordinary  four-harness 
patterns. 

The  changes  are  very  definitely  marked,  and  the  draft 
more  easily  written.  The  fact  that  it  requires  double  the 
number  of  harnesses  makes  the  weaving  a  little  more  dif- 
ficult. 

Until  the  weaver  becomes  familiar  with  the  various 
steps  in  analysis,  it  is  well  to  draw  out  the  pattern  to  be 
analyzed  on  paper,  as  shown  in  Fig.  455.  Draw  the  ver- 
tical lines  that  mark  each  change  as  shown  below  the  pat- 
tern. Since  there  are  four  changes,  draw  horizontal  lines 
which  cross  the  vertical  lines  at  right  angles.  Within  the 
spaces  thus  formed  write  the  number  of  threads  in  each 
change.  It  must  be  remembered  that  there  are  always 
double  the  number  of  threads  than  appear  on  either  the 
upper  or  under  surface.  For  example — the  first  square  is 
recorded  as  having  three  threads,  this  means  that  there  are 
three  threads  of  another  color  in  the  same  square  of  the 
under  surface. 

It  has  already  been  stated,  and  the  weaver  should  have 
experienced  the  fact  by  this  time,  that  four  heddles  or 
harnesses  are  required  for  each  change,  two  for  the  white 
and  two  for  the  blue.  As  a  matter  of  convenience  divide 


DOUBLE  WEAVING 


187 


Fig.  455 


188 


FOOT-POWER  LOOM  WEAVING 


Beginning- 


E±i  ±i  ::i  ::i 

illHILHILHW 


M1IM1IM 


Repeat  from  Beginning 


Fig.  456 — Completed  Draft.    A  Pattern  Analysis 


the  checked  paper  on  which  the  draft  is  written  into  sec- 
tions and  mark  one,  two,  three  and  four,  as  indicated  in 
Fig.  456. 

If  each  change  in  the  pattern  is  lettered,  the  number 
of  threads  recorded,  and  the  checked  paper  marked  off  into 
sections,  there  will  be  no  difficulty  in  writing  the  draft 
for  any  particular  square. 

That  part  of  the  draft  between  the  arrows  shows  the 
unit  that  is  to  be  repeated.  The  place  of  beginning  is 
mai'ked  in  Fig.  455. 

After  the  pattern  or  unit  has  been  repeated  the  de- 
sired number  of  times,  the  border  which  follows  is  thread- 
ed. This  places  the  border  along  the  left  edge  only,  and 
is  woven  with  the  understanding  that  two  strips  are  to  be 
sewed  together.  If  the  woven  piece  is  to  be  a  pillow  top, 


the  border  should  be  threaded  at  the  beginning  as  well  as 
the  end,  thus  making  a  border  around  the  entire  weaving. 
Figure  45G  is  the  completed  sixteen-harness  draft. 

The  Ko.  14  Swiss  Tidy  Cotton,  (furnished  by  the 
Western  Thread  Co.,  Elgin,  111. ) ,  makes  a  very  good  warp. 
It  has  been  suggested  that  the  entire  warp,  in  both  white 
and  blue  be  made  of  cotton.  The  colored  filler  or  woof 
may  be  of  wool  and  the  white  filler  of  cotton.  If  wool  is 
used  in  the  warp  it  should  have  a  very  hai'd  twist  to  avoid 
stretching  so  much  as  possible. 

The  Reed 

A  number  20  reed  is  used.  Two  threads,  one  white 
and  one  blue,  are  drawn  through  each  dent.  (Reeds  may 
be  purchased  of  E.  R.  Street,  543  W.  Washington  Blvd.. 
Chicago. ) 


DOUBLE  WEAVING 


189 


lEepeal  from  Arrow 


The  Treadling 

There  are  sixteen  treadles.  As  a  convenience  the  trea- 
dles may  be  divided  into  sections  or  groups,  to  correspond 
with  the  division  shown  in  the  harness,  Fig.  457.  It  re- 
quires four  treadles  for  each  change  in  the  pattern.  The 
weaver  soon  learns  the  particular  four  treadles  that  will 
operate  that  portion  of  the  harness  which  will  produce  any 
one  change  of  the  pattern. 

The  complete  treadling  draft  is  shown  in  Fig.  457. 
Counting  from  the  right  it  is  the  third  set  of  four  treadles 
that  produces  the  first  part  of  the  pattern.  Each  time  that 
a  treadle  marked  by  the  dark  square  is  pressed  down,  a  blue 
thread  passes  through  the  shed  thus  formed,  and  each  time 
a  treadle  marked  by  a  cross  is  pressed  down  a  white  thread 
passes  through  the  shed  thus  formed. 

This  series  of  treadles  is  pressed  down  three  times  in 
succession.  The  second  change  in  the  pattern  is  formed  by 
pressing  down  the  second  four  treadles  from  the  right. 
The  third  change  is  produced  by  the  first  four  treadles  and 
is  repeated  as  many  times  as  the  figure  before  the  brace 
indicates.  The  entire  treadling  draft  is  followed  as  above 
described.  The  double  set  of  lambs  is  used  in  the  tie-up. 
A  iK-tter  shed  is  produced  if  the  lambs  and  treadles  are 
lengthened.  This  is  easily  accomplished  by  placing 
brackets  to  the  side  of  the  loom  thus  allowing  the  lambs  to 
extend  beyond  the  loom  as  far  as  the  brackets  will  permit. 
Tliis  extension  of  the  lambs  gives  (lie  treadles  at  the  left 
a  greater  leverage  and  thus  produces  a  better  shed. 


Fig.  457— Treadling  Draft 


190 


FOOT-POWER  LOOM  WEAVING 


(-rirh:--->l8l»1sr  «'«"  ±tl 

.J.nn 

ft?* 

^~ 

12  x                                   4x 

•        <        t        4       <       4          .             .              JLJLJLJLJ    I.)*!      ^       * 

fRepeat  frorr 
Beginning  of  Border  Qfor  each  ne 

---s'nV---                                                               jftft^-                          T*>tt 

Beg 
«PA 

JOt 

mning 
<t«rn 

Con 

tmuc  to  Thread  from  here  af  ler  Laat  Pattern  has  been  Threaded  in 

.-..-  j 

m 

Fig.  458  —  Threading  Draft  for  Two  Harnesses 

The  Treadles 

Brackets  may  be  cut  and  screwed  to  the  floor  to  bold 
the  lengthened  treadles. 

Warp  Beam 

Lengthened  brackets  may  also  be  placed  at  the  back  to 
hold  the  warp  beam,  thus  giving  a  greater  distance  between 
the  warp  beam  and  the  harness. 

Double  Weaving  with  Two  Harnesses 

A  great  advance  was  made  in  the  weaving  of  patterns 
when  the  idea  occurred  of  passing  the  warp  threads 
through  two  sets  of  heddles,  each  set  having  its  own  sep- 
arate function  to  perform,  such  as  making  the  ground, 
forming  the  pattern,  or  binding  a  portion  of  the  design 
separately,  as  is  sometimes  necessary. 

A  good  example  of  the  action  of  two  separate  liar- 
jiL-sses  working  together  is  afforded  by  the  double  cloth 
pattern.  Fig.  455.  The  making  of  plain  double  cloth  has 
been  fully  described  at  the  beginning  of  this  chapter. 


Advantage  of  Two  Harnesses 

Fig.  458  shows  the  threading  draft  when  two  har- 
nesses are  used  for  the  pattern  shown  in  Fig.  455. 

It  will  be  observed  that  for  each  change  in  the  pattern 
there  are  but  two  heddles  instead  of  four,  thus  reducing 
the  number  to  one-half  the  number  of  heddles. 

Pattern  Harness 

The  pattern  harness  for  Fig.  455  consists  of  eight 
heddles,  two  for  each  change  in  the  pattern.  These  hed- 
dles should  be  at  least  twelve  inches  long,  having  small 
eyes  through  which  the  pattern  threads  are  drawn. 

The  entire  pattern  is  threaded  following  the  threading 
draft,  Fig.  458. 

The  Tabby  Harness 

The  tabby  harness,  consisting  of  four  heddles,  is  hung 
in  front  of  the  pattern  harness.  The  tabby  heddles  are  of 
the  same  length  as  the  pattern,  but  the  eyes  are  about 
lour  and  one-half  inches  in  length. 


DOUBLE  WEAVE 


i  Z  3  a 


191 


1 

, 

WE 
Z'i 

WB 
1   1 

-      H 
•      .3 
.  _  -2 

4A 

Headies 


Fig.  459— Treadling  Draft  for  Fig.  455 


=    % 

Repeal  from  Arrow 

- 

—  mti 

Repeat  fromArro\ 

192 


FOOT-POWER  LOOM  WEAVING 


Fig.  460— Double  Pattern 


1234 


432  I 


DOUBLE  WEAVING 


193 


n 


\ 


Fig.  461— Treadling  Draft  for  Pig.  460 


194 


FOOT-POWER  LOOM  WEAVING 


3x       3* 


2x       5x       3x       3x 


m    n     i 


Zx       S«      3x       3x 


Repeal  from  Beginning 


sa 


Pig.   462— Lover's   Chain.      Draft   of   Pattern 


Each  pattern  thread  now  passes  through  "an  eye  of 
the  tabby  harness.  The  threading  is  done  through  the 
labby  harness  the  same  as  for  plain,  double  cloth. 

The  long  eyes  of  the  tabby  harness  allow  Hie  pattern 
threads  to  work  up  and  down  freely. 

The  Work  of  the  Figure  Harness 

The  province  of  the  figure  harness  is  to  form  the  de- 
sign in  large  without  regard  to  the  binding  or  weaving  of 
it  together. 


If  only  the  figure  harness  were  used,  the  design  would 
be  formed,  but  the  threads  of  both  warp  and  weft  would 
only  interlace  where  the  black  takes  the  place  of  the  white 
or  the  white  that  of  the  black. 

The  plan,  tie-up  and  treadling  of  the  double  harness 
method  for  the  pattern  shown  in  Fig.  455  is  given  on  page 
191,  Fig.  459. 

Explanation  of  Tie-Up 

The  tabby  treadles  are  in  the  middle,  the  treadles 
carrvinsi'  the  white  are  at  the  left  and  the  black  at  the  right. 


Fig.  463— Lover's  Chain 


P.I  r/7-,7,'.Y> 


432  1 


1s* 

)3' 

Zx 
I8' 

\f" 

z, 

|z 
1   I5' 

t  from  Arrow 
Fig.  464— Treadling  Draft  for  the  Lover's  Chain 


n •/•;.!  r/.vr; 

m  m       •      ••' 


195 


Fig.  465— Lover's  Chain 


196 


Repeat  rom  Beginning 


FOOT-POWER  LOOM  WEAVING 

3*       6«  ia<  0* 


19*         3 


Fig.  466— Draft  for  Lover's  Knot  Pattern 


The  tie-up  complete,  the  third  black  treadle  is  pressed 
down  and  at  the  same  time  the  first  white  treadle  in  the 
tabby.  This  is  indicated  by  the  double  line  drawn  from 
the  third  black  pattern  to  the  first  white  tabby.  A  white 
thread  is  passed  through  the  shed  thus  formed.  The  sec- 
ond shed  is  formed  by  pressing  down  the  third  white  trea- 
dle and  the  second  black  of  the  tabby  at  the  same  time  and 
is  indicated  bv  the  single  continuoiis  line  drawn  from  the 


third  white  pattern  to  the  second  black  tabby.  A  black 
thread  is  passed  through  the  shed. 

The  third  shed  is  made  by  pressing  down  the  third 
black  pattern  treadle  and  the  second  white  tabby,  and 
a  white  thread  passed  thi*ough  the  shed. 

By  carefully  following  the  treadling  draft  the  weaver 
cannot  go  astray. 

All  solid  black  lines  indicate  colored  threads  while  the 
double  lines  indicate  white.  All  lines  within  brackets  indi- 


II  1  11,^  -ii  i  ii  1  1  1  in  uvi  U  IWVfl  1  1  1  1  1  1  1  fllUHfl  U  LfftflTT 

niiiiiijiiiiiiiimliiiiiiiiiiiiiiii  liroii^^ 

ill  !::::  i!  i!:::: 

Wm^ 

:;!;:!;;:;;;:':';^!!^!^:;!;!^!::::::::;;;i;::-::-: 

^^litil^MlilttnMny  U  1  1  1  iMliin^ 

illll  III  II  II  LHH 

20<  10-          3*      6x 


Fig.  467 — Threading  Draft  of  the  Lover's  Knot — Two  Harness 


LOVE  If*  k'.\OT  PATTERN 


197 


1   2 

A 

2 

1 

A 

?  1 

-7 

b 
Z» 
Z» 
b 

ZOx 

^ 

t— 

=  3 
-2 

lOic 

J3» 

* 

IS, 

|e« 

"Repeal  from  Arrow 
Fig.  48& — Treadling  Draft  for  Two-Harness  Lover's  Knot 


Fig.  469 — Lover's  Knot 


FOOT-POWER  LOOM  WEAVING 


—"Repeat  from  Beginning 
2x      3x       2*  2*      3*      3«      3x 


HI         D          1  Zx      Zx     24»         I6x 


Pig.  470 — Threading  Draft,  Mosaic  Pattern — Single  Harness 


cate  the  number  of  times  a  series  of  threads  is  to  be  re- 
peated. 

It  is  well  to  arrange  the  shuttles  so  that  when  the  right, 
white  tabby  treadle  is  pressed  down  the  white  shuttle  is 
thrown  from  the  right -and  when  the  right  black  tabby 
treadle  is-  pressed  down  the  shuttle  carrying  the  black  or 
blue  thread  is  thrown  through  the  shed. 

When  the  left  white  tabby  is  pressed  down  the  shut- 
tle carrying  the  white  is  thrown  from  the  left.  liy  follow- 
ing the  above  order  it  greatly  simplifies  the  handling  of 
the  shuttles. 

The  treadling  draft,  Fig.  459,  is  a  key  to  all  the  other 
drafts. 

Figure  460  shows  a  most  attractive  double  pattern. 
The  treadling  draft  is  shown  in  Fig.  461,  and  is  followed 
the  same  as  in  Fig.  45!). 

Figure  465  shows  what  is  known  as  Lover's  Chain. 
Upon  inspection  it  is  found  to  contain  but  four  changes. 
The  draft  is  written  in  .two  ways.  Fig.  462  shows  the 


threading  draft  and  tie-up  without  the  tabby  draft.  The 
pattern  is  threaded  from  the  beginning  to  the  arrow  as 
many  times  as  desired.  The  part  of  the  draft  following  the 
arrow  is  the  border  and  is  threaded  only  once.  The  thread- 
ing draft  becomes  the  treadling  draft  in  the  double  weav- 
ing just  as  it  does  in  the  four  harness  weaving. 

When  Aveaving,  the  treadles  in  group  I  are  pressed 
down  first.  Groups  II,  III  and  IV  follow  in  their  regular 
order.  The  treadling  then  goes  back  to  groups  I  and  II 
and  then  down  to  group  IV. 

Repeat  any  particular  group  as  many  times  as  is  in- 
dicated by  the  bracket  and  figure. 

Figure  463  shows  the  threading  draft  for  Lover's 
Chain  when  the  double  harness  is  used. 

Figure  464  shows  the  treadling  draft  for  Lover's  Chain 
when  the  double  harness  is  used. 

Another  well  known  double  weave  is  shown  in  Fig. 
-169. 


i       4* 
....I.I. 

.  .  ,  i  ] 

f 

1 

wn 

f 

i::::::::: 

i  "Repeat  fror*  Begl 

"'a!      3,           Sx                    6x                Sx                     *.          3,      3.      3. 

2»                2-      J5-       2* 

3H 

i                             '    '  1  1 

i  ji!:  ! 

• 

1 

i 

i 

\ 

• 

::i;i!:?                        :   :  j  I  ;  I  '  :  !  :  ;  I  ;  i  i  : 

!ii'i'|iii!!!;i: 

bfl  1  1  1  bofl  i  II  1  i!  1  —  LU 

Fig.  471 — Threading  Draft  for  Double  Harness,  Mosaic  Pattern 


MO* AW  PATTERN  DRAFT 


199 


I  23  <?? 


A  3  Z  1 


«» 


1 

2 

. 

1        f 

>  z 

; 

i 

i  ; 

c 

2x 
3« 
Zx 

Z, 

3. 
3x 

3x 

Z, 

„ 

K 

'F 

eat  f 

! 

or 

n 

Ar 

•row 

5, 

^< 

tt 

i* 

3- 

Fig.  472— Treadling  Draft  of  the  Mosaic  Pattern 


Pig.  473— Mosaic  Patt.  rn 


200 


FOOT-POWER  LOOM  WEAVING 


I  Z345        Z 


r 


5432  I 


Repeat   from  Arrow 


Pig.  475 — Treadling  Draft  for  Counterpane  Pattern 


Fig.  474 — Counterpane  Pattern 


DOUBLE  WOVEN  COUNTERPANES 


201 


-  -  „  1  .  1  _    -.,1, 
......  I.I.  ....I.I 

I1  

3x 

L>(* 

jp^''"'"''       \\mw^f^m 

iiiliji  j         ;!     Ij-    =         =  '    !  !; 

IIIILH<HinjliliL 

Eepeat  from  Beginning 

PC^VL              iiiiii!!'il 

_.---_.           _g    ^         .        ..       _  —  ;  ;  ;  ;  i  '  i  !  ;  • 
6x 

1  1  1  1  1  1  1  1  1  1  1  1  1  1  1  1  1  1  1  hftfl  1  1  1  1  1  1  1  is-m^  i  rTTmm 
fl  LHKKHIf 

ytfmVHmr                            tufl 

-j'r*                     5ws     '                                                  "  "  8    a 

Fig.  476 — Threading  Draft  for  Counterpane 


The  draft  is  written  both  ways. 

Figure  4GC>  shows  the  four  changes  written  l>y  u.sing 
sixteen  harnesses. 

The  threading  draft  becomes  the  treadling  draft  as 
previously  described. 

The  tie-up  is  shown  at  the  end  of  the  draft. 

It  is  well  to  remember  that  the  part  of  the  draft  which 
follows  the  arrow  is  the  border. 

Figure  467  shows  the  threading  draft  when  two  har- 
nesses are  used. 


Figure  4(iS  gives  the  treadling  draft  for  the  two  har- 
nesses. ' 

Figure  47:>  gives  the  completed  pattern  for  what  is 
known  as  Mosaic. 

Figure  470  shows  the  threading  draft  when  only  the 
single  harness  is  used.  Fig.  471  shows  the  pattern  draft 
for  the  double  harness  method. 

Figure  472  gives  the  order  of  treadling  the  double 
harness. 

The  weaver  will  find  the  double  harness  method  very 

Beginning 


•  • 


' 


from  Beginning, 5x 


I  .  I  .  I  .  I  .  1 


JOE 


«• 


Beginning  o[  Border 


Fig.  477—  Threading  Draft  for  Pattern  Shown  in  Fig.  479 


202 


FOOT-POWER  LOOM  WEAVING 


I  234  5       2211         54.32  1 


•10 


z* 
Zx, 


r 


from  Beginning 
of    Pattern 


Pig.  478 — Treadling  Draft  for  Pattern  Shown  in  Fig.  479 


Pig.  479 


DOUBLE  WOVEN  COUNTERPANES 


203 


__ 

-f— 

™ 

1 

5^" 

1  1  i  i  l^B 

mr 

ff::::::::s!g!i!i!  !i!:  j:  j:  j:  j:j:  j::: 
n—                      :::!:!:!:!:!:!:;i;i::i                                 n 

;;;;;;;^:a'8-;;;;;;;;;;--;;;;:;;;;;;!;;;;^;;;;;;!i;;;:;!;;;? 

1  1  1  1  1  f  f  1  1  f  HTH  n  il  1  1  n  i  n  rt"T~M  1  1  i-i  m  1  1  1  1  f  1  1  nn  1  1  1  1  1  1  1  1  1  MI  [  i  r-i-n10 

>-^- 

-4tttttr 
-  iiiillh 

—  ^ 

^f  ,-,  I'll:::;:  ;::!::::::::;:::::::::;i!  i! 

:::jijii!!!:J::i!i!jiji|i|ii!  !:               ::i!i!::::i!s!i!s!B!i!:j 

Pig.  480— Threading  Draft  for  Counterpane  (See  Pig.  482) 


pnirticiil  and  tlirou-jli  its  use  most  complicated  patterns 
may  be  reproduced. 

It  must  he  remembered  tliat  tlie  double  harness  thread- 
ing is  the  same  as  threading  the  entire  pattern  twice.  First 
the  pattern  is  threaded  and  then  th(>  tabby  harness  is 
threaded  by  drawing  these  same  threads  through  the  long 
eyes  of  the  tabby  harness.  The  order  in  this  threading  is 
simply  4,  3,  2,  1,  every  other  thread  being  colored. 

Figure  474  shows  an  interesting  counterpane  pattern, 
involving  five  changes. 

If  the  threading  draft  was  written  for  the  single  har- 


ness it  would  require  twenty  heddlcs.  I!y  using  the  double 
harness  it  requires  ten  heddles  for  the  pattern  and  four 
for  the  tabby. 

Figure  47(»  gives  the  threading  for  the  pattern,  while 
Fig.  475  gives  the  order  of  treadling.  Since  this  is  the 
same  as  for  the  four-change  patterns  which  have  already 
been  described,  it  will  not  be  necessary  to  give  further 
detail. 

Figure  47!l  is  a  pattern  involving  live  changes.  Fig. 
477  is  the  threading  draft  for  the  pattern  and  Fig.  478 
gives  the  treadling  draft. 


204 


FOOT-POWER  LOOM  WEAVING- 


' 2345       221 1        5432 1 


-1 

:- 

— 

:! 

3x 

>10x 

•3n 

_"Repeat  from  Arrow- 5x 


Pig.  481— Treadling  Draft  for  Counterpane  (See  Fig.  482) 


DOUBLE  WOVEN  COUNTERPANES 


205 


H  *  II  * 

r  t 

ii  i  H  * 


Fig.  482 — Double  Woven  Counterpane 


Fig.  483 — Counterpane  in  Blue,  Green  and  White 


206 


i 

3x    3x     3x           4x            3x    3x    3x    6x    6> 

ESE  JK  ITI  ICE  ffl  rrr  ffl  Trr  BBS?  58 

---,-,---                                                            .._!_,__.  _S_S 

FOOT-POWER  LOOM  WEAVING 

Repeat  from  Besinnme 
f—  i  2  Bx    6x    3x    3x     3x            4x 

3x     3«    3x    6x    6x 

\^:\^^m 

p-i  -  [  •  M  A  j  t  *--p  - 

i 

B«.gi 

LRJ 

3Hi'-  ' 

nn  f  g-i 

IHHf 

I.::::: 

:::-|-i:::::i-i:::;||-i::::8i-|f:f:::::::: 
::::::':!:-i;i::::-,ai::^,-,s:3;::::::::::: 

:::::gVg:8:::::::::::::::::a:B:sV::::::::::::?:E:-V::::iV::::g, 

^•s1:^;;;;;;:;;;;;;;;;^;;;;;:;:;:^!^!;;;;;^;;;::;;;;!!^:;;^!^!:: 

-i::::-i:i!::  :::::::::::± 

:;s!i!:;;;;;;;;:;;;;:;8!;E 

•si 

^4:^| 

2x    2x 


2x    6x 


Fig.  484— Threading  Draft  for  Counterpane  (Fig.  483) 


12345 


EZ11 


-Repeat  from  Arrow 


It  must  be  remembered  that  the  threading-  of  the  tabby 
harness  is  always  the  same  regardless  of  the  number  of 
changes  in  a  pattern. 

Figure  482  shows  a  double  woven  counterpane  that 
came  originally  from  the  State  of  New  York.  The  name 
is  unknown  to  the  author. 

The  pattern  threading  draft.  Fig.  480,  shows  five 
changes.  Attention  is  again  called  to  the  threading  of 
the  pattern  which  is  threaded  from  the  place  marked 
"beginning''  to  the  arrow. 

The  part  of  the  draft  which  follows  the  arrow  is  the 
border. 

To  find  the  number  of  threads  necessary  for  any  par- 
ticular draft,  count  the  threads  in  a  repeat  and  then  mul- 
tiply by  the  number  of  times  the  pattern  is  to  be  repeated. 
The  border  is  threaded  but  once.  Forty  threads  are  usually 
used  to  the  inch,  twenty  blue  and  twenty  white.  A  number 
twenty  reed  is  used,  a  blue  and  a  white  thread  drawn 
through  each  dent.  Each  pattern  is  written  so  tliat  two 


Fig.  485— Treadling  Draft  for  Counterpane  Illustrated  in  Fig.  483 


Dol'liLE  }\'OVK.\  COUNTEL'I'.  I  \ /•:.-< 


207 


I  23.4  5        3211         54321 


1 

epe 

a1  from  A 

rrow 

Fig.  4S7— Treadling  Draft 


Fig.  486— A  Pattern  in  Three  Colors 


203 


FOOT-POWER  LOOM  WEAVING 


2.     2»    2.   2t»                I.Ox                       Z. 

•uiiiiiiiitffliiiiiiiiiiiiiiiiii^^ 

fflniiJiiiffliiiyiiiiiiiiiiiiii^ 

i;;;:;:;';!;;!;!!;!;;;;;:;;;!1;1!;1;:::;;;::;;;^:: 

Fig.  488-rThrcading  Draft  for  Counterpane  Illustrated  in  Fig.  486 


Fig.  489— Pattern  and  Analysis  of  Counterpane  Illustrated  in  Fig.  492 


DOUBLE  WOVEN  COUNTERPANES 


209 


"Repeat  from  Beginning  3x 


Jfe 

•      i  Mi!       m 

.:.::  i:i:::::i;i::::;i;i!::::::::::::  ::::::::::::::::: 

i'liii!;-    :  ;i!i!;-;j;;; 
-  -  -  ,1,1  —  .1,1 

;;;!;:;i's'-;-;s's'-::;:;;;:;;;::;;::;::;:;:;:::::::;;:;;;::::: 

It  i  1      -  1  t                mam 

Fig.  490— Threading  Draft  for  Pattern  in  Fig.  489 


strips  may  be  sewed  together,  the  seam  coming  through 
the  center  of  the  unit. 

It  must  be  remembered  that  the  two  harness  plan  of 
weaving  (lie  double  counterpanes  is  the  same  as  threading 
two  distinct  looms.  The  pattern  draft  is  threaded  through 
the  small  eyes.  These  pattern  threads  after  In-ing  drawn 
through  the  small  eyes  are  all  again  threaded  through  the 
long  eyes  of  the  tabby  harness,  which  hangs  directly  behind 
the  batten  or  beater,  as  it  is  sometimes  called. 

Figure  481   gives   a   detailed   treadling   draft   which 


when  accurately   followed   produces  the  finished  pattern 
shown  in  Fig.  482. 

Figure  483  shows  a  finished  counterpane  into  which  a 
third   color   has   been    introduced.      The   prevailing   back- 
ground is  blue,  the  small  squares  are  of  green  and  the  ecu 
ters  and  border  are  of  white. 

When  reeling  the  warp  for  three  color  weaving,  care 
must  be,  taken  that  the  green  and  blue  are  reeled  together 
to  produce  the  green  squares  on  a  blue  background.  If  the 
green  squares  are  to  appear  on  a  white  background  the 
white  and  green  must  be  reeled  together. 


210 


FOOT-POWER  LOOM  WEAVING 


1  Z3 

1Z    ii    ii 

10-  4- 
8-1- 

456        Ei 

11          654 

3E1 
-)H  -IE 

J  H  -10 

...a 

i  —  e 

i2' 
)z, 

\!-' 

—    H 
^    ~ 

H  -  J 

—  a 

=  =  i 

---3 
Z 

\I8*- 

"       V* 

• 

y 

f 

,. 

TCep 

jj 
sat    frc 

- 

m 

A 

row 

2x 

Z* 

fl. 

Fig.  491— Draft  lor  Treadling  (See  Pig.  492) 


Pig.  492 — Counterpane  in  Blue  and  White 


DOUBLE  1lV>l7v'.Y  rOTAT/-;///'.!  .YA'N 


211 


Fig.  493 — Pattern  and  Analysis  of  Counterpane  Shown  in  Fi£.  496 


212 


FOOT-POWER  LOOM  WEAVING 


Beginning 


^ginning  of  Border 


s's'a 


Pig.  494— Threading  Draft  for  Fig.  496 


The  pattern  threading  draft  for  Fig.  483  is  given  in 
Fig.  484.  No  draft  is  given  for  the  tabby  because  of  the 
fact  that  it  is  always  the  same  for  all  patterns.  The  thread- 
ing is  the  same  as  for  the  plain  double  weave,  namely; 
4,  3,  2,  1. 


Figure  485  gives  a  detailed  treadling  draft  for  the 
draft  Fig.  484. 

Fig.  486  gives  another  five  change  pattern  in  which  a 
third  color  is  introduced.  In  this  case  the  small  squares 
are  of  a  madder  red.  If  the  red  squares  are  to  appear  on 


DOUBLE  WOVEN  COUNTERPANES 


213 


123.45678       2 


13-1 
12 

II 


IlllfW- 


I  I         8763-132  I 


I 

J 


Repeat  from  Beginning  of  PaHern 


tig.  495— Treadling  Draft  for  Counterpane   (Pig.  496) 


Fig.  496 — Counterpane 


214 


FOOT-POWER  LOOM  WEAVING 


a  white  background  the  red  is  warped  with  the  white.  In 
this  particular  pattern  the  red  squares  appear  on  a  blue 
background,  so  the  red  is  warped  with  the  blue. 

In  the  threading  and  treadling  drafts  a  slight  varia- 
tion has  been  made  from  the  pattern  given  in  Fig.  4SG. 
Instead  of  giving  the  border  its  shown  in  480  a  pine  tree 
border  has  been  substituted. 

If  the  weaver  will  carefully  follow  the  threading  draft 
shown  in  Fig.  488  and  the  treadling  draft  shown  in  Fig. 
487  the  pattern  shown  in  486  will  be  produced  with  a  pine 
tree  border.  All  the  patterns  in  this  chapter  are  for  coun- 
terpanes and  are  written  in  such  a  way  that  the  two  strips 
necessary  for  a  counterpane  may  be  sewed  together. 

Figure  489  shows  a  pattern  in  which  six  changes  ap- 
pear. The  detailed  analysis  is  given  by  drawing  the  verti- 
cal and  horizontal  lines  indicating  the  changes.  The  num- 
ber of  threads  in  each  change  is  placed  in  its  proper  place, 
directly  below  the  spots  in  the  pattern. 


The  threading  pattern  fully  written  out  is  shown  in 
Fig.  490. 

If  the  single  harness  plan  of  weaving  were  used  in  this 
particular  pattern  it  would  require  a  harness  of  24  heddles. 
By  using  the  double  harness  as  given  in  Figs.  490  and  491 
only  sixteen  harnesses  are  required,  twelve  for  the  pattern 
and  four  for  the  tabby. 

Figure  492  shows  the  completed  counterpane  in  two 
colors,  blue  and  white. 

Figure  493  shows  an  interesting  pattern  in.  which 
eight  changes  appear.  The  entire  analysis  is  given  to  aid 
in  understanding  the  writing  of  the  pattern  draft. 

To  weave  this  pattern,  using  the  single  harness,  would 
require  a  harness  of  32  heddles.  By  using  the  double  har- 
ness only  20  heddles  are  necessary,  l(i  for  the  pattern  and 
4  for  the  tabby. 

Figure  494  shows  the  pattern  threading  draft.  Fig. 
495  gives  the  treadling  draft  and  Fig.  496  shows  the  com- 
plete pattern  and  border  in  a  counterpane. 


CHAPTER  X. 


Textiles  and  Wood 


Applications  to  Furniture 

Heretofore  very  little  has  been  done  in  the  combina- 
tion of  hand-woven  textiles  and  wood,  yet  there  is  no  com- 
bination of  materials  that  gives  such  a  large  variety  of 
artistic  effects  as  this  one.  The  different  ways  in  which 
this  material  may  be  used,  in  combination  with  wood,  are 
too  numerous  to  mention;  therefore,  we  shall  take  only 
those  simple  problems  which  are  within  the  capabilities  of 
even  a  sixth,  seventh,  or  eighth-grade  boy. 

Foot  Stool 

The  first  problem  that  we  suggest  is  that  of  a  small 
foot  stool,  upholstered  in  hand-woven  material.  Fig.  497 
shows  the  working  drawing  of  this  unique,  but  simple,  lit- 
tle foot  stool  showing  the  wide  possibilities  for  individual 
design.  Here  is  a  problem  that  a  whole  class  may  con- 
struct, and  no  two  made  alike.  AVe  have  given  a  few  sug- 
gestions as  to  how  the  design  of  the  legs  of  the  stool  may 
be  altered  or  enlarged  upon.  The  size  of  the  stool  itself 
may  be  changed  with  pleasing  results  by  making  it  longer, 
lower,  or  narrower,  so  that  there  are  any  number  of  ways 
of  changing  the  design  of  this  stool  without  losing  any  of 
its  artistic  qualities.  It  is  a  most  flexible  problem. 


After  the  stool  is  constructed,  upholster  it  with  a  piece 
of  hand-woven  material.  This  may  be  either  woven  by 
the  boy  himself  or  by  the  girls  in  the  weaving  class  of  the 
school.  Here  again  are  more  possibilities  for  making  each 
piece  more  individual,  since  each  piece  of  material  may  be 
of  a  different  pattern,  yet  all  may  be  woven  from  the  same 
threading  on  the  same  loom. 

This  material  might  be  used  wherever  upholstering  is 
possible,  on  a  great  variety  of  household  furniture  with 
most  pleasing  and  beautiful  results.  A  little  touch  of 
hand-woven  material  gives  to  any  article  upon  which  it 
is  used  a  most  subtle  appearance. 

Figure  498  shows  the  completed  stool  made  from  the 
working  drawing  shown  in  Fig.  497.  The  design  used  for 
weaving  the  material  used  in  upholstering  this  stool  is 
one  of  the  many  possible  ones  of  the  Rose  Path  pattern. 

Waste  Basket 

Figure  500  shows  the  working  drawing  of  a  very  sim- 
ple waste  basket  that  any  sixth-grade  boy  could  build  with- 
out much  difficulty.  The  only  difficulty  is  in  boring  the 
holes  at  the  proper  angle. 

Two  pieces  of  cloth  are  woven  the  length  of  two  sides 


215 


216 


FOOT-POWER  LOOM  WEAVING 


Seat  to  be  upholstered 


Sugg 


estions 


FOOT  5T001. 


Fig.  497 — Working  Drawing  of  Upholstered  Foot  Stool 


TEXTILES  AND  WOOD 


Fig.  499— Finished  Waste  Basket 


and  the  bottom.  Hems  are  sewed  at  both  eiids  so  that 
when  the  dowel  rods  are  placed  through  the  hems  and  then 
put  in  place,  the  cloth  will  hold  the  basket  together.  It  is 
necessary  to  have  the  cloth  stretched  very  tightly  in  order 
to  have  the  basket  rigid. 

Figure  499  shows  the  finished  waste  basket.  The  bor- 
der around  the  top  of  the  cloth  is  woven  with  the  Hose 
Path  pattern. 

If  the  tapering  of  the  sides  of  the  waste  basket  seems 
too  difficult,  a  straight  sidrd  sewing  basket  may  be  con- 
structed as  shown  in  Fig.  501.  The  construction  is  the 


same  as  for  the  waste  basket.  The  design  of  the  hand-woven 
cloth  is  another  possibility  of  the  Rose  Path  pattern. 

Screens 

There  is  no  article  of  furniture  in  which  handwoveu 
cloth  may  be  used  so  effectively  as  a  screen.  Fig.  502 
shows  the  working  drawing  of  a  screen  in  which  the  panels 
are  of  hand-woven  material. 

The  inner  sides  of  each  frame  are  grooved  the  same 
as  for  a  wooden  panel ;  a  key  is  made  to  fit  loosely  into  this 
groove.  The  cloth  is  placed  over  the  groove,  the  key  placed 
on  top  the  cloth  over  the  groove,  and  then  forced  down  into 
it.  This  makes  a  very  good  way  of  fastening  the 
cloth  to  the  frames.  A  few  finishing  nails  may  be  driven 
through  the  key  into  the  frame  to  hold  the  key  in  place. 


Pig.  498 — Finished  Foot  Stool 


FOOT-POWER  LOOM  WEAVING 


Clath  Bottom 


II     of 


WA5TE.  BASKET 


Fig.  500 — Working  Drawing  of  Waste  Basket 


TEXTILES  AND  WOOD 


That  this  combination  makes  a  beautiful  as  well  as 
useful  piece  of  furniture  may  be  seen  from  the  photograph 
shown  in  Fig.  503.  The  cloth  is  woven  from  the  Orange 
Peel  pattern,  a  border  being  woven  at  the  top  and  bottom 
to  break  up  the  space. 

Though  the  construction  of  this  screen  is  simple,  it 
should  be  made  as  a  group  problem  rather  than  an  indi- 
vidual one;  the  boys  to  make  the  frame,  and  the  girls  to 
weave  the  cloth. 

Figure  504  shows  the  working  drawing  of  another  very 
attractive  screen  of  different  construction  from  the  first 
one  mentioned.  In  this  screen  build  the  inside  frames  as 
shown,  of  any  lumber,  then  cover  both  front  and  back  with 
the  cloth,  tacking  it  along  the  outside  edges  of  the  frames. 
Make  the  grooved  strips  as  shown,  and  tack  them  on  the 
outside  edges  of  the  frame,  covering  up  the  edges  upon 
which  the  cloth  has  been  tacked.  This  gives  a  very  neat 
and  effective  finish  to  the  screen,  since  all  of  the  frame 
that  shows  is  the  little  grooved  moulding  on  the  outside 
edges. 

Figure  505  shows  how  attractive  this  kind  of  a  screen 
can  be  made  to  look  by  just  using  strips  of  hand-woven 
cloth,  embroidered  with  rope  silk.  Observe  how  beauti- 
fully the  panels  are  broken  by  skilful  designing. 


Pig.  501— Finished  Sewing  Basket 


220 


FOOT-POWER  LOOM  WEAVING 


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Woven  Cloth  insert 


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Fig.  502— Working  Drawing  of  Screen 


TEXTILES  AND  WOOD 


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FOOT-POWER  LOOM  WEAVING 


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TEXTILES  AND  WOOD 


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CHAPTER  XI 

The  Design  and  Construction  of  Looms 

Danish  Loom 

The  following  cuts  show  the  working  drawings  for 
both  the  Danish  and  Swedish  looms.  If  light  work  only 
is  desired  then  the  Danish  loom  shown  in  Fig.  506  is  the 
loom  to  construct.  Fig.  507  shows  the  front  working  draw- 
ing. Fig.  508  shows  the  side  and  Fig.  509  shows  the  detail 
drawings  of  the  various  parts. 

Swedish  Loom 

Figure  510  shows  the  completed  Swedish  loom.  If 
space  is  available  this  is  the  loom  to  have.  On  this  loom 
may  be  woven  very  fine  articles  as  well  as  the  Colonial 
rugs.  On  the  Danish  loom  only  the  lighter  work  can  be 
successfully  woven.  Fig.  511  shows  the  working  drawing 
for  the  front  of  Swedish  loom.  Fig.  512  shows  the  side, 
and  Fig.  513  shows  the  detail  drawings  of  the  beater,  warp 
beam,  heddle  sticks  and  other  movable  parts. 

Fly  Shuttle 

The  detailed  drawing,  Fig.  514,  is  that  of  a  fly-shuttle 
loom.  The  batten  or  beater  of  any  loom  may  be  made  into 
that  of  a  fly-shuttle. 

The  fly-shuttle  arrangement  is  especially  practical  in 
the  weaving  of  materials  that  require  but  one  shuttle.  The 
necessary  materials  may  be  purchased  of  E.  R.  Street,  543 
West  Washington  street,  Chicago. 


Pig.  506— Sketch  of  Danish  Loom 


CONSTRUCTION  OF  LOOMS 


Fig.  507 — Working  Drawing  of  Loom — Front  View 


FOOT-POWER  LOOM  WEAVING 


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CONSTRUCTION  OF  LOOMS 


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Pig.  509 — Working  Drawing  of  Loom — Details 


FOOT-POWER  LOOM  WEAVING 


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CONSTRUCTION  OF  LOOMS 


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230 


FOOT-POWER  LOOM  WEAVING 


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Pig.  512 — Working  Drawing  of  Swedish  Loom 


CONSTRUCTION  OF  LOOMS 


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232 


FOOT-POWER  LOOM  WEAVING 


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CHAPTER  XII. 
Dyes  and  Dyeing 


When  we  come  to  the  coloring  of  materials  to  be  used 
In  textile  work  a  field  is  entered  that  has  been  only  par- 
tially explored. 

It  is  true  that  vegetable  dyes  may  be  duller  and  that 
they  do  not  run  through  such  a  lengthy,  diverse  and  bril- 
liant gamut  as  the  various  branches  of  aniline.  But,  they 
are  apt  to  be  more  permanent  and  they  are  so  softened  by 
the  mellowing  touch  of  time,  as  to  gain  with  age  an  ex- 
quisite combination  of  color  values,  altogether  inimitable. 

It  is  claimed  that  the  Shah  of  Persia  punishes  with 
death,  the  man  who  brings  aniline  dyes  into  his  kingdom. 
Vegetable  dyeing  is  a  fascinating  part  of  textile  work. 
When  one  is  interested  he  is  led  to  make  many  new  dis- 
coveries. 

Utensils  Used 

Copper  kettles  are  the  best  and  when  possible  should 
be  used  in  vegetable  dyeing.  Tin  is  good  for  bright  colors 
but  is  affected  by  acids.  Iron  is  good  for  certain  plants 
but  is  very  hard  to  keep  clean.  Brass  may  be  used  but  is 
not  so  good  as  any  of  the  other  above  named  utensils. 
Enameled  ware  may  be  used  but  should  never  be  used  for 
food  purposes  after  dyeing. 

Cleaning  of  Utensils 

The  untinned  copper  kettles  are  best  cleaned  with  fine 
sand  and  a  little  sulphuric  acid.  Vinegar  or  sour  milk 
may  be  used. 


Washing  of  Wool 

All  materials  to  be  dyed  must  be  thoroughly  clean. 

Wool  is  usually  washed  but  very  little  before  spinning. 
To  obtain  the  best  results  the  skeins  of  yarn  must  not  be 
too  thick.  Ordinarily  80  grams  in  weight  to  the  hank  is 
quite  sufficient.  The  finer  the  yarn,  however,  the  less  there 
should  be  to  the  hank.  It  must  be  remembered  that  to  ob- 
tain definite  results  care  must  be  taken  to  weigh  all  ma- 
terials to  be  dyed  and  to  hold  to  definite  measurements. 

Water  Used  in  Washing 

Rain  water  is  the  best  for  washing  purposes.  All 
newly  spun  and  unwashed  wool  must  be  washed  three 
times  in  lukewarm  water. 

The  first  washing  is  done  in  eight  parts  of  water  con- 
taining 200  gr.  of  soda. 

The  second  washing  is  done  in  10  parts  of  water  to 
100  gr.  of  soda  and  200  grams  of  good  soap  equal  in  qual- 
ity to  Ivory  soap. 

The  third  washing  is  done  in  10  parts  of  water  and  110 
grams  of  soap  only. 

Care  should  be  taken  not  to  wash  too  large  a  quantity 
of  wool  at  one  time.  From  2  to  5  kilograms  in  the  bath  at 
one  time  is  quite  sufficient. 

If  the  wool  is  very  dirty  wash  it  in  two  solutions  of 
soda  and  water  and  then  proceed  as  above  directed. 

The  washed  material  is  first  rinsed  in  lukewarm  wa- 
ter and  then  in  several  cold  waters. 


233 


234 


FOOT-POWER  LOOM  WEAVING 


Mordant  2.     Greenish  Yellow 

All  material  is  mordanted  before  dyeing.    Sometimes  Yarn 250  gr. 

the  mordant  is  placed  in  the  dye  itself  but  more  often  Fresh  wild  parsley 1  kg. 

the  material  itself  is  mordanted  before  placing  in  the  dye.  Alum   (mordant) 35  gr. 

Alum  is  a  useful  mordant  for  most  vegetable  dyes.    When  Boil  the  parsley  one  hour,  drain,  add  the  alum,  stir 

alum  is  used  it  must  be  boiled  in  order  to  become  thor-  well  until  alum  has  dissolved.     Boil  material  in  solution 

oughly  dissolved.    All  goods  must  be  wet  before  entering  from  i/2  to  1  hr. 
the  mordant. 

If  vitriols  are  used  in  mordanting  they  must  be  placed  3-     Greenish  Yellow 

in  lukewarm  water  only.     Mordant  materials  from  one  to  Yarn 250  gr. 

two  hours.  Alum  (mordant) 32  gr. 

When  mordanting  the  material  should  be  well  cov-  Fresh  alder 1  kg. 

ered  with  water.  Mordant  the  material  first.     Boil  the  leaves   1  hr., 

drain,  add  mordanted  material  and  boil  y2  to  1  hr. 

Formulae  for  Dyeing 

4.     Strong  Greenish  Yellow 
The  following  recipes  have  been  successfully  tried  out 

and  are  offered  to  those  who  are  interested  enough  to  not 
only  use  what  is  here  suggested  but  to  make  further  in- 
vestigation in  the  broad  field  of  vegetable  dves.  Barberry  leaves 500  gr. 

Mordant  the  material  first.     Boil  the  fresh  leaves  2 

,,  „  hr.,  drain  and  add  mordanted  varn,  boil  from  1  to  2  hr., 
Yellows 

according  to  darkness  of  color  desired. 

1.     Wax  Yellow 

Yarn 250  gr.  5.     Greenish  Yellow 

(Alum   (mordant) 32  gr.  Yarn 250  gr. 

Fresh  bayberry  leaves.  .500  gr.  Dry  Mrch  ]eaves 500  ^ 

Mordant  before  dyeing,  boil  the  leaves  one  hour,  drain,  Alum  (mordant) 32  gr. 

add  material  and  boil  one  hour.  Soak  the  leaves  the  day  before  using. 


YELLOW  DYES 


Boil  the  soaked  leaves  for  one  hour  and  strain.  Add 
the  alum  to  this  solution  and  boil  yarn  in  it  from  y2  to 
1  hr. 

If  the  yarn  is  dried  without  rinsing  and  then  placed  in 
a  weak  birch  ash  lye  the  color  becomes  a  reddish  yellow. 

6.  Reddish  Yellow 

Yarn  .................  250  gr. 

Alum    (mordant)  ......   40  gr. 

Dry  apple  bark  ........  250  gr. 

The  material  is  first  mordanted  in  the  alum  water. 
Cut  the  bark  into  small  pieces  and  soak  the  day  be- 
fore using.    It  is  then  boiled  two  hours  and  strained. 

Boil  the  mordanted  yarn  in  the  bark  liquid  from  i/> 
to  1  hr. 

By  using  more  bark  and  boiling  longer  a  darker  yellow 
is  obtained. 

This  color  fades  a  little  if  it  is  not  very  dark. 

7.  Gray  Yellow 

Yarn  .................  250  gr. 

Alum    (mordant)  ......   40  gr. 

Kinnikiiinic  ..........      1  kg. 

Chop  the  kinnikinnic  fine  ;m<l  boil  for  :>  hr.  Drain 
and  boil  the  mordanted  material  in  the  liquid  from  1/L.  to 
1  hr. 


8. 


Yellow 
Yarn  .................  250  gr. 

Alum  (mordant)  .......   32  gr. 

Alder  bark  ............     2  kg. 


Mordant  the  yarn  in  the  usual  way.  Chop  the  alder 
bark  fine,  and  soak  the  day  before  using.  Boil  from  2  to 
3  hr.,  drain  and  boil  the  yarn  in  the  liquid  Ihr.  or  longer 
according  to  the  depth  of  color  desired. 

Reds 
9.     Dark  Red 

Yarn 250  gr. 

Cream  of  tartar 16  gr.    )  ,, 

f  Mordant 
Alum  65  gr.    ) 

Madder  250  gr. 

Mordant  the  yarn  for  two  hours  and  let  it  remain  in 
the  liquid  till  cool,  then  rinse  in  lukewarm  water. 

The  yarn  may  be  allowed  to  dry  after  removing  from 
the  mordant;  then  it  is  rinsed  in  warm  water  before  it  is 
put  in  the  madder  liquid. 

The  madder  is  put  to  soak  the  day  before  it  is  to  be 
used  in  enough  cold  water  to  make  a  very  thin  solution. 

If  there  are  hard  lumps  they  must  be  rubbed  apart 
in  order  to  thoroughly  soak.  When  ready  to  dye  the  soaked 
madder  mass  is  put  in  clean  cold  water  and  when  luke- 
warm the  mordanted  yarn  is  added. 

This  is  heated  slowly  to  00  degrees  or  70  degrees  Centi- 
grade or  hot  enough  to  burn  one's  fingers.  Stir  the  yarn 
constantly  and  keep  the  solution  at  the  same  temperature 
as  long  as  the  yarn  is  in  it.  It  must  not  boil.  If  the  yarn 
is  not  stirred  it  becomes  spotted  as  that  part  of  the  mad- 
der liquid  that  heats  the  quickest  gives  a  stronger  color 


236  FOOT-POWER  LOOM  WEAVING 

than  the  other.     The  red  coloring  matter  in  the  madder         l2'     UgU  Yellowish  Red 
dissolves  without  boiling,  but  with  boiling  the  other  in- 
gredients in  the  madder  are  also  dissolved  and  these  cause  '^ ^r' 

IVi  '1  M M f^l*  ^     O"T* 

the  red  color  to  lose  its  brightness  and  change  it  to  brown. 

When  the  yarn  has  been  in  the  madder  liquid  for  the  re-  ^  J£°^l*^  *°'  "  ^  ^  ^  **** 

quired  time  it  is  allowed  to  remain  in  the  solution  until 

cool.    Keep  stirring  until  cool.  jg     Pale  Red 

It  is  then  rinsed  and  washed  in  several  waters  to  re-  Yarn                                 ^50  »r 

move  the  loose  madder.  Alum  '('mordant  J  \          [~32  gr. 

When  the  yarn  is  allowed  to  dry  after  being  mordanted  Madder                               25  «r 

the  red  color  becomes  a  little  darker.     All  dark  madder  Treat  as  in  No   12 
colors  are  absolutely  fast.     The  lighter  ones  fade  a  little 

as  the  years  go  by.  14.     Rose  Red 

Yarn 250  gr. 

Alum    (mordant) 40  gr. 

10.     Medium  Madder  Red  Madder   50  gr. 

Yarn *•"'  §r-  Mordant  the  yarn  as  usual ;  when  cool  wrap  the  wet 

Cream  of  tartar 16  gr.    [  Mopdant  material  in  a  cloth  so  it  does  not  dry  out.    Allow  it  to  lie 

Alum 40  gr.    )  jn  tnjs  wav  from  6  to  8  days.    It  is  then  treated  with  mad- 
Madder  175  gr.  (jer  ag  above  mentioned. 

Treat  the  same  as  No.  9.  The  yarn  should  be  squeezed  in  a  little  lukewarm  wa- 

ter before  putting  it  in  the  color  liquid. 


11.     Light  Madder 

Yarn 250  gr. 

Alum    (mordant) 40  gr. 

Madder  125  gr. 

Mordant  the  yarn  one  hour  and  keep  it  in  the  warm 
color  liquid  from  ^  to  1  hr. 


15.     Terra  Gotta 

Yarn 250  gr. 

Cream  of  tartar 16  gr. 

Alum 48  gr. 

Madder  125  gr. 

Oak  gall  13  gr. 


Mordant 


RED  DYES 


237 


Mordant  the  yarn  as  usual. 

When  the  madder  liquid  is  lukewarm  add  the  yarn 
and  heat  slowly,  allow  it  to  boil  i/>  hr.  Remove  the  yarn 
and  to  the  liquid  add  the  finely  powdered  oak  galls. 

The  yarn  is  again  placed  in  the  color  liquid  and  boiled 
for  l/o  hr.,  when  it  is  removed  and  allowed  to  dry. 

If  more  color  is  used  the  yarn  will  be  darker,  and  if 
from  3  to  10  gr.  of  iron  vitriol  is  added  it  becomes  browner. 

How  to  Add  Vitriol:  When  this  is  added  the  yarn 
is  first  removed  and  the  vitriol  is  allowed  to  melt  in  the 
boiling  liquid.  This  is  cooled  by  adding  a  little  cold  wa- 
ter. The  yarn  is  now  returned  and  boiled  for  a  few  min- 
utes, then  it  is  removed,  cooled  and  rinsed. 

The  lighter  madder  color  may  be  had  by  coloring  the 
mordanted  yarn  in  the  cool  liquid  left  in  No.  9,  10  or  11. 
These  colors  are  somewhat  more  of  a  yellowish  color  than 
when  fresh  madder  is  used. 

By  using  stronger  or  weaker  mordants  and  more  or 
less  madder  many  colors  not  mentioned  in  these  recipes 
may  be  made. 

It  must  always  be  remembered  that  a  strong  mordant 
is  used  when  a  dark  color  is  desired. 


16.     Cardinal 


Yarn  .  .  .250  gr. 

Tin  4  gr 

xitrii' add  "'. y.'.v : : : :  50  gr: 

Water 150  to  200  gr. 

•  'ream  of  tartar 50  gr. 

Cochineal   100  gr. 


The  cream  of  tartar  and  the  cochineal  are  soaked. 
When  the  water  for  the  coloring  is  boiling  add  the  cochi- 
neal and  cream  of  tartar  and  boil  for  ten  minutes.  Keep 
the  liquid  well  skimmed.  After  the  scum  has  been  re- 
moved add  the  yellowish  solution  of  tin,  water,  and  acid 
and  stir  well.  Put  in  the  dry  yarn,  turning  it  quickly 
around  and  later  more  slowly.  Boil  from  1  to  l]/2  hr., 
according  to  darkness  of  color  desired.  Remove,  cool  and 
dry. 

Yarn 250  gr. 

Tin    4  gr.  ] 

Nitric  acid 25  gr.    >•  Mordant 

Water 75  to  100  gr.  J 

Cream  of  tartar 50  gr. 

Cochineal    50  gr. 

Treat  the  same  as  in  No.  16. 

IS.     Iiri(/lit  If >'d 

Yarn 250  gr. 

Tin 8  gr.  "I 

Nitric  acid   50  gr.    I  Mordant 

Water 150  to  200  gr.  J 

Cream  of  tartar 50  gr. 

Cochineal    25  gr. 

When  the  water  for  the  coloring  comes  to  a  lM>il,  put 
in  the  cream  of  tartar  and  let  it  dissolve;  add  the  cochineal. 


238 


FOOT-POWER  LOOM  WEAVING 


Boil  for  10  minutes,  keeping  the  scum  skimmed  from  the 
surface  of  the  boiling  mixture. 

Add  the  yellowish  tin  solution  as  in  No.  17  and  put  the 
dry  yarn  into  the  boiling  mixture,  turn  it  quickly  around 
and  later  turn  a  little  more  slowlv.  Boil  1  hr. 


Mordant  the  yarn  as  usual. 

Boil  the  yarn  for  y2  hr.  in  the  solution  left  from  16  or 
17.  The  color  becomes  lighter  after  the  use  of  No.  17  than 
after  No.  16. 


1!».     Flag  Color 


Yarn 250  gr. 


Tin 


8  gr. 


Nitric  acid  50  gr. 

Water 150  to  200  gr. 

Cream  of  tartar 50  gr. 

Cochineal    50  gr. 

Treat  the  same  as  in  No.  18. 


20. 


Mordant 


Mordant 


Dark  Carmine 

Yarn 250  gr. 

Cream  of  tartar l(i  gr. 

Alum   8  gr. 

Cochineal    16  gr. 

Mordant  the  yarn  for  2  hrs.  and  cool.    In  fresh  water 
put  the  powdered  soaked  cochineal  and  boil  for  15  minutes. 
The  yarn  is  added  and  boiled  for  2  hrs.,  when  it  is 
taken  out  and  dried. 


21.     Carmine 


Yarn 250  gr. 

Alum  (mordant) 40  gr. 


22.     lAyht  Carmine 

Yarn 250  gr. 

Alum    :>2  gr. 

Cream  of  tartar.  .  .   :>2  yr. 


Mordant 


Starch   :52 


15  gr. 


Cochineal    

Cream  of  tartar 6  gr. 

Mordant  the  yarn  1  hr. 

The  starch  must  be  mixed  with  a  little  cold  water  be- 
fore it  is  added  to  the  mordant. 

Boil  the  soaked  cochineal  and  cream  of  tartar  in  fresh 
water  for  15  minutes. 

The  mordanted  yarn  is  boiled  in  this  from  i/£  to  1  hr. 


Dull  Carmine 

Yarn 250  gr. 

Alum   50  gr. 

Cream  of  tartar .'52  gr. 

Cochineal    25  gr. 

Madder    20  gr. 

Starch   !•'!  gr. 

Mordant  as  usual. 


Mordant 


RED  DYES 


239 


Soak  the  cochineal  and  the  madder  together  and  boil 
for  10  minutes. 

Dissolve  the  starch  in  cold  water  and  put  it  in  before 
the  yarn  is  added  to  the  cold  solution,  boil  from  y»  to  1  hi-. 

L'4.     Rose  Red 

Yarn 250  gr. 

Alum  (mordant) 32  gr. 

Boil  y»  hr.  in  mordant. 

Boil  i/o  hr.  in  solution  left  in  17.  If  the  color  is  to  be 
•  it  a  light  shade  double  the  amount  of  yarn  or  throw  a  wax- 
half  the  color  solution  and  add  clear  water. 

2").     Salmon  Red 

Yarn 250  gr. 

The  dry  unmordanted  yarn  is  boiled  from  y±  to  y2  hr. 
in  the  solution  left  in  No.  18  or  No.  19.  If  more  yarn  is 
taken  the  color  becomes  lighter;  it  is  also  lighter  when 
using  Xo.  18  than  when  using  No.  19. 

26.     Red  from  Brazil  Wood 

Yarn 250  gr. 

Alum 40  gr. 

Cream  of  tartar 16  gr.  J 

Madder  40  gr. 

Brazil  wood  40  gr. 

Potash 7  gr. 

Mordant  as  usual,  after  which  the  yarn  is  placed  in 
madder  solution  as  described  in  Xo.  9  and  allowed  to  re- 


Mordant 


main  1  hr.  The  Brazil  wood  which  has  been  soaked  is 
placed  in  a  bag  and  this  is  boiled  in  clean  water  y2  hr. 
The  bag  is  now  removed  and  the  madder  colored  yarn  is 
IIOAV  boiled  in  this  solution  from  y»  to  1  hr.  Let  it  lie  in 
this  solution  till  cooled  a  little.  Then  it  is  taken  out  and 
the  potash,  which  has  been  well  dissolved,  is  added  to  the 
solution  and  the  yarn  is  re-entered  and  left  for  10  or  15 
minutes.  Allow  the  yarn  to  remain  in  the  solution  till  cool 
and  then  wash  in  strong  soap  suds.  This  is  an  inexpensive 
red  blue  color  but  it  is  not  so  pretty  as  the  Salmon  Red. 

27.     Red 


Mordant 


Yarn 250  gr. 

Alum  40  gr. 

Cream  of  tartar 16  gr. 

Bed  straw  roots 250  gr. 

Mordant  the  yarn  from  1  to  2  hrs. 

The  dry  roots  are  ground  or  chopped  fine  and  put  to 
soak. 

During  the  dyeing  the  yarn  is  treated  the  same  as  was 
described  in  Xo.  9,  for  madder  coloring,  hut  in  this  case  the 
yarn  is  boiled  a  little  toward  the  end. 

28.    Dark  Red 

Yarn 250  gr. 

Ground  pine  (mordant). 250  gr. 
Madder  or  bed  straw.  .  .250  gr. 
Mordant  the  yarn  in  ground  pine  in  the  following  way  : 


240 


FOOT-POWER  LOOM  WEAVING 


The  ground  pine  is  chopped  fine  and  soaked  in  as  much 
water  as  is  needed  for  the  dyeing.  This  mixture  is  heated 
every  day  and  must  remain  in  a  warm  place  where  it  can 
be  kept  lukewarm.  After  3  or  4  days  it  acquires  a  sour 
smell.  Boil  well  and  strain.  As  it  boils  add  a  little  water. 
In  this  strained  solution  put  the  wet  yarn  and  heat  every 
day  for  three  or  four  days  and  let  it  stand  in  a  warm  place. 
The  last  day  boil  well. 

The  yarn  will  then  have  a  light  yellowish,  green  gray 
color  and  a  sour  smell. 

The  yarn  is  now  rinsed  and  allowed  to  dry  before  it  is 
colored  red. 

The  madder  is  prepared  as  described  in  No.  9.  Before 
the  yarn  is  put  into  the  red  dye  it  must  be  well  squeezed  in 
warm  water. 

The  Preparation  of  Olium 

The  Norwegians  succeed  in  getting  most  beautiful 
shades  of  blue  through  the  use  of  what  they  call  Olium, 
which  is  made  in  the  following  way: 

Indigo  is  dissolved  with  sulphuric  acid  by  mixing  15 
gr.  powdered  indigo  with  125  gr.  of  smoking  sulphuric  acid. 
Put  about  10  gr.  of  sulphuric  acid  and  a  little  indigo — say 
2  gr. — in  a  glass  jar  or  bottle  with  a  well  fitting  stopper. 
Stir  this  till  it  is  smooth.  Use  a  glass  rod,  or  if  necessary 
a  hardwood  stick.  Metal  must  not  be  used.  After  this, 
put  a  little  of  each  into  the  jar  and  stir,  and  so  continue 
until  all  has  been  used.  Put  stopper  firmly  in  bottle  and 
allow  the  mixture  to  stand  at  least  24  hours  before  using. 


When  using,  weigh  or  measure  the  Olium  in  a  dry 
glass  and  pour  carefully  into  cold  water  before  placing  in 
the  dye.  Never  pour  water  into  the  Olium,  as  it  effervesces 
and  may  injure  the  eyes.  When  the  Olium  is  kept  in  an 
air  tight  bottle,  it  may  be  kept  for  a  long  time. 

All  the  recipes  for  blue  which  follow,  are  based  on 
Olium  measured  in  a  graduated  glass.  If  weighed,  take 
double  as  many  grams.  If  the  sulphuric  acid  is  poor,  the 
indigo  will  not  dissolve,  and  the  color  will  run.  To  prove 
that  the  indigo  is  well  dissolved,  take  a  few  drops  of  the 
Olium,  mix  with  water,  and  strain  through  a  filtering  pa- 
per. If  the  filtered  dye  is  still  blue,  then  the  indigo  has 
been  properly  dissolved,  but  if  not,  the  dye  will  be  white 
or  light  blue. 

When  Olium  is  to  be  used  in  dyeing,  it  should  be  meas- 
ured or  weighed  in  a  dry  glass,  as  before  described,  and 
dropped  or  poured  slowly  into  the  lukewarm  water  and 
well  stirred. 

If  the  color  is  too  light,  more  Olium  may  be  added, 
but  some  of  the  boiling  dye  liquid  must  be  thrown  away, 
and  the  remainder  mixed  with  cold  water  before  the  Olium 
is  added.  If  the  liquid  is  too  warm,  when  the  goods  is  put 
in,  it  becomes  streaked  or  clouded,  even  though  it  has  been 
dyed  previously.  As  soon  as  the  yarn  has  been  boiled  in 
the  dye,  it  will  be  seen  whether  it  is  too  light  as  by  that 
time  all  dye  will  have  been  drawn  into  the  goods.  If  in 
the  heating,  it  is  getting  too  dark,  a  part  of  the  liquid  is 
thrown  out  and  the  remainder  lightened  with  water  before 


OLIUM— BLUE  DYES 


241 


contimiing  the  dyeing.  When  dyeing  with  Olium,  the 
liquid  must  only  be  lukewarm  when  the  goods  is  put  in 
and  it  must  be  quickly  stirred  and  kept  in  constant  motion 
until  it  boils. 

By  using  more  or  less  Olium,  many  color  shades  and 
tints  in  blue  may  be  obtained  by  using  the  following 
recipes. 

Blue  Dyes 
29.     Dark  Soldier  Blue 

Yarn 250  gr. 

Alum    (mordant) 50  gr. 

Olium  20  to  30  gr. 

The  yarn  is  mordanted  as  usual,  and  is  then  dyed  red 
in  tin-  used  liquid  remaining  after  dyeing  cochineal  red. 
Dry  the  yarn.  Add  10  gr.  Olium  to  clear  lukewarm  water, 
and  stir  well.  Add  the  red  dyed  yarn  which  has  first  been 
dipped  in  warm  water  and  heat,  stirring  constantly;  boil 
for  1/2  hr.  and  dry.  When  dry,  it  is  again  wrung  in  warm 
water  so  that  it  becomes  thoroughly  wet.  To  the  new  luke- 
warm water,  is  added  10  gr.  Olium  and  the  yarn  is  again 
dyed  as  at  first.  Boil  1  hr.  and  dry.  If  one  desires  the 
yarn  still  darker,  the  dyeing  must  be  repeated  with  10  gr. 
Olium.  When  the  dyeing  is  completed,  it  must  be  dried 
before  washing. 

If  there  is  no  red  liquid  which  has  been  used,  the  yarn 
must  be  mordanted  as  No.  21,  and  a  dye  liquid  made  of 
cochineal  (10  to  15  gr.).  For  the  rest,  handle  as  above. 

The  darker  the  blue  that  is  wanted,  the  darker  must 


Mordant 


be  the  red  of  the  under  dye,  with  the  corresponding  amount 
of  Olium  added. 

30.  Light  Soldier  Blue 

Yarn 250  gr. 

Alum  75  gr. 

Olium  15  gr. 

Madder  5  gr. 

Olium  10  gr. 

The  yarn  is  mordanted  as  usual.  Fresh  water  is  added 
to  the  soaked  madder,  and  in  this  the  yarn  is  dyed  red  as 
in  No.  23,  and  then  dried. 

The  Olium  is  added  to  lukewarm  water  and  well 
stirred.  The  red  dyed  yarn  is  added.  ( The  yarn  must  first 
be  wrung  out  of  warm  water.)  It  is  then  heated  slowly, 
stirred  constantly  and  boiled  1  hr.  Handle  as  above. 

It  may  also  be  dyed  red  in  used  madder  liquid. 

31.  Greenish  Blue 

Yarn 250  gr. 

Alum    (mordant) 40  gr. 

Olium  8  gr. 

When  the  yarn  has  been  mordanted,  it  is  dyed  light 
yellow  in  one  of  the  used  yellow  dye  liquids.  It  is  wrung 
out  of  this  and  then  dyed  blue  as  above.  If  a  paler  dye  is 
wanted,  add  5  gr.  of  iron  sulphate  after  it  has  been  dyed 
blue,  and  boil  10  to  15  minutes.  It  may  now  be  washed 
without  first  drying. 

Goods  dyed  with  iron  sulphate  must  be  left  well  cov- 


242 


FOOT-POWER  LOOM  WEAVJNG 


ered  by  the  dye  until  cool,  unless  they  are  constantly 
stirred  in  the  dye.  This  liquid  forms  a  crust  on  the  sur- 
face in  the  cooling  which  spots  the  goods  or  yarn  near  the 
surface. 

32.  Dull  Medium  Blue 

Alum    (mordant) 40  gr. 

Oliuin 8  gr. 

Madder  15  gr. 

The  yarn  is  mordanted  as  usual.  Some  of  the  mordant 
water  is  thrown  away  and  enough  cold  water  is  added  to 
make  the  liquid  lukewarm.  Add  the  Olium,  stir  well,  put 
in  the  yarn  and  heat  slowly,  stirring  constantly. 

Boil  %  hr.  and  take  out.  Add  enough  cold  water  to 
the  liquid  to  make  it  lukewarm  and  add  the  dissolved  mad- 
der and  stir  well.  Add  the  yarn  and  heat  slowly,  stirring 
constantly  and  evenly.  Boil  1/1;  hr.,  then  cool,  rinse  and 
wash. 

33.  Bright  Medium  Blue 

Yarn 250  gr. 

Alum    (mordant) 40  gr. 

Olium 5  gr. 

The  yarn  is  mordanted  and  dyed  as  above.  When  it 
is  through  boiling  in  the  dye  liquid  the  yarn  is  cooled, 
rinsed  and  washed. 

3-1      Light  Blue 

Yarn 250  gr. 

Alum    (mordant) 30  gr. 

Handle  the  same  as  above. 


35.  Water  Blue 

Yarn 250  gr. 

Alum    ( mordant ) 30  gr. 

Olium 5  to  10  drops 

Handle  as  above. 

The  lighter  colors  with  Olium  are  not  absolutely  fast, 
They  become  slightly  greenish  after  being  used  and  cannot 
be  washed  in  soda  water. 

36.  Dark  Blue  with  Ground  Pine 

Yarn 250  gr. 

Ground  pine 250  gr. 

Logwood  100  gr. 

The  ground  pine  is  chopped  fine  and  soaked  in  as 
much  water  as  is  needed  for  the  dyeing.  The  whole  is 
heated  daily  and  is  placed  where  it  can  be  kept  lukewarm. 
AVhen  after  three  or  four  days  it  has  acquired  a  sourish 
odor,  it  should  be  Avell  boiled  and  strained.  The  water  will 
diminish  in  the  boiling,  therefore  sufficient  water  must  be 
added  so  that  there  is  enough  for  dyeing.  When  the  ground 
pine  has  been  strained,  the  wet  yarn  is  placed  in  the  liquid 
and  heated  every  day  for  three  or  four  days  and  kept  in  a 
warm  place.  The  last  day  it  is  boiled;  the  yarn  should 
then  have  a  light,  yellowish,  green  gray  color  and  a  sour 
odor. 

The  logwood,  which  was  put  to  soak  the  day  before, 
is  placed  in  a  bag  and  boiled  in  clear  water  1  hr.  and  then 
removed.  The  yarn  is  now  wrung  out  of  the  ground  pine 
liquid  and  boiled  in  the  logwood  liquid  y2  hr.  to  1  hr.  It 


GREEN  DYES 


343 


is  then  taken  out  and  dried.  When  dry,  place  it  for  sev- 
eral hours  in  a  weak  lurch  ash  lye  and  wash.  The  lye  is 
made  by  putting  the  ashes  in  warm  water. 

With  more  logwood,  a  darker  color  is  obtained. 

This  color  is  fast  for  covering  but  should  not  be  used 
for  liner  covers  or  rugs.  In  time  it  l>ecomes  slightly  gray- 
ish in  color. 

.'57.     Dtirk  Him  iritli  Chi<-kireed 

Yarn 250  gr. 

Fresh  chickweed 1  pail 

Alum  (mordant) 32  gr. 

Logwood   50  gr. 

The  chickweed  is  boiled  1  hr.  and  drained.  The  alum 
is  added  to  the  liquid,  and  well  stirred.  The  wet  unmor- 
danted  yarn  is  taken,  and  added  to  the  liquid  and  boiled 
1  hr.  and  taken  out.  A  small  bag  filled  with  the  soaked 
logwood  is  boiled  in  the  liquid  !/•;  hr. 

Add  the  yarn  and  let  it  boil  1  hr.  with  the  logwood  bag. 

The  yarn  lies  in  the  liquid  until  cold. 

It'  a  darker  dye  is  wanted,  use  more  logwood. 

Green  Dyes 

The  pure  green  colors  are  always  composed  of  a  yel- 
low and  blue  dye  stull'.  These  are  mostly  made  by  first 
dyeing  the  goods  blue,  and  then  boiling  it  in  a  yellow  dye. 
To  obtain  a  dark  green  the  blue  foundation  must  be  made 
dark  enough  the  first  time.  No  amount  of  boiling  in  the 
yellow  dye  will  make  the  goods  darker.  P>y  adding  madder 


or  iron  sulphate,  the  green  will  l>ecome  darker  but  it  is  an- 
other tone,  gray  or  brownish. 

Certain  plants  give  a  green  dye  without  using  blue. 
The  yellow  dye  in  these  plants  will,  by  the  addition  of  an 
iron  or  copper  salt,  become  green,  but  the  yarn  will  have 
a  shade  of  gray  or  brown. 

Green  with  Birch  Leaves 

For  these  dyes,  both  fresh  and  dried  leaves  may  be 
used.  Three  kg.  fresh  leaves  make  1  kg.  dried  leaves. 

We  must  therefore  count  on  using  three  times  as  much 
fresh  leaves  as  dried  in  the  dyeing.  The  recipes  are  made 
on  the  basis  of  dried  leaves.  The  leaves  are  soaked  the 
day  before  and  arc  boiled  in  enough  water  to  make  the 
necessary  dye  liquid  and  are  then  strained.  The  boiling 
is  done  so  that  all  dye  material  in  the  leaves  may  be  had. 
After  straining,  the  leaves  are  rinsed  with  a  little  clear  wa- 
ter, and  this  is  added  to  the  liquid  which  is  cooled  while 
one  is  dyeing  the  yarn  blue. 

The  yarn  is  mordanted  with  the  amount  of  alum  called 
for  in  the  recipe. 

When  dyeing  blue,  throw  out  half  the  mordant  water 
and  add  clear  cold  water  and  the  proper  amount  of  Olinin. 

Olium  is  measured  in  a  graduated  glass  or  is  dropped 
I  count  ing  the  drops)  carefully  into  the  water  which  has 
been  heated  to  about  20°  <\  and  is  well  stirred.  The  wet, 
well  wrung  yarn,  already  mordanted,  is  placed  immedi- 
ately in  the  lukewarm  blue  liquid.  It  is  stirred  and  turned 
quickly  around  with  a  stick.  This  is  kept  up  constantly 


244 


FOOT-POWER  LOOM  WEAVING 


and  while  the  liquid  is  slowly  boiling.  By  that  time,  all 
the  dye-stuff  will  have  been  absorbed  by  the  yarn  and  it 
may  be  left  to  boil  slowly  y2  nr- 

Unless  one  is  exceedingly  ca!reful  in  the  blue  dyeing, 
the  yarn  becomes  clouded  and  this  cannot  be  corrected  la- 
ter, but  becomes  more  noticeable  when  dyed  green. 

When  the  yarn  has  been  dyed,  it  is  cooled  in  the  liquid 
before  it  is  taken  out.  It  is  then  well  wrung,  put  again  on 
the  stick  and  placed  in  the  milk-warm,  (about  30°  C,) 
birch-leaf  liquid.  It  is  constantly  turned  and  kept  in  slow 
motion  until  through  boiling.  The  longer  it  is  kept  in  the 
birch-leaf  liquid,  the  stronger  the  green  color.  It  should 
not  boil  more  than  1  hr.  If  the  yarn  is  not  dark  enough, 
due  to  poor  leaves,  it  must  be  boiled  for  half  an  hour,  in 
new  birch-leaf  dye  after  having  been  dried.  It  must  be 
thoroughly  wet  in  warm  water  before  being  placed  in  the 
new  dye.  The  goods  is  allowed  to  lie  in  the  dye  until  cold 
unless  the  color  is  becoming  too  strong.  In  that  case,  it 
is  taken  up  at  once  and  cooled.  The  color  is  intensified  by 
having  the  material  lie  in  the  warm  dye  until  it  is  cold. 

If  there  are  to  be  several  dyes  in  green,  these  can  well 
be  boiled  in  the  same  birch-leaf  dye.  It  is  necessary  to  cal- 
culate in  advance  the  proper  amount  of  leaves  and  to  make 
up  separately  the  blue  dyes. 

If  the  birch-leaf  dye  is  to  be  used  for  after-dyeing,  it 
must  be  cooled  before  new  yarn  can  be  placed  in  it. 

The  dull  blue  green  dyes  may  also  be  boiled  in  the 
same  birch-leaf  dye  that  the  light  fresh  green  colors  were 
boiled. 


For  the  light  after-dyes,  add  to  the  cooled  dye  1  to  5 
drops  Olium,  if  only  light  colors  have  been  boiled  in  it  and 
it  contains  no  blue. 

Whenever  dark  dyed  blue  has  been  boiled  in  the  birch 
leaf,  some  of  the  blue  remains. 

Yarn  and  cloth  are  handled  in  the  same  way,  with  the 
exception  that  wool  is  to  be  boiled  slowly,  while  cloth  is 
boiled  quickly  and  kept  in  constant  motion. 

Variations  of  the  birch-leaf  dyeing  are  endless  among 
the  following  recipes : 

38.  Dark  Blue  Green  No.  1 

Yarn 250  gr. 

Alum    (mordant) 40  gr. 

Olium  (blue  dye) 5  gr. 

Birch  leaves    1  kg. 

Boil  in  birch-leaf  liquid  !/•>  to  1  hr.  according  as  a  more 
or  less  blue-green  color  is  desired. 

39.  Dark  Blue  Green  No.  2 

Yarn 250  gr. 

Alum    (mordant) 40  gr. 

Olium  (blue  dye) 3  gr. 

Birch  leaves    1  kg. 

Boil  in  birch-leaf  liquid  1  hr. 

40.  Medium  Blue  Green 

Yarn 250  gr. 

Alum    (mordant) 40  gr. 

Olium  (blue  dye) 2  gr. 

Birch  leaves 750  gr. 

Boil  in  birch-leaf  dve  1  hr. 


GREEN  DYES 


245 


41. 


Light  Blue  Green 

Yarn 250  gr. 

Alum    (mordant) 40  gr. 

Olium  (blue  dye) 1  gr. 

Birch  leaves 500  gr. 

Boil  in  birch-leaf  dye  y2  to  1  hr. 


42. 


Dark  Strong  Green 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Oliuin  (blue  dye) 3  gr. 

Birch  leaves iy.2  kg. 

Boil  in  birch-leaf  dye  1  hr. 

If  the  dye  is  not  green  enough,  dry  the  yarn  and  boil 
again  in  a  new  strong  birch-leaf  dye  y2  to  1  hr. 

43.  Bright  Medium  Green 

Yarn 250  gr. 

Alum    (mordant) 40  gr. 

Olium  (blue  dye) 1  gr. 

Birch  leaves    1  kg. 

Boil  in  birch-leaf  dye  !/•>  to  1  hr. 

44.  Light  Green 

Yarn 250  gr. 

Alum    (mordant) 40  gr. 

Olium  (blue  dye) 1  gr. 

Birch  leaves   1  kg. 

Boil  in  birch-leaf  dye  y2  to  1  hr. 


45.     Yellow  Green 

Yarn 250  gr. 

Alum  (mordant) 30  gr. 

Olium  (blue  dye) 15  drops 

Birch  leaves 1  kg. 

Boil  in  birch-leaf  dye  y2  to  1  hr. 

4G.     Dull  Grass  Green 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) l1/^  gr. 

Birch  leaves 1  kg. 

Iron  sulphate 2  to  5  gr. 

Boil  in  birch-leaf  dye  1  hr. 

When  the  yarn  has  boiled  in  the  birch-leaf  dye,  it  is 
taken  out  of  the  liquid  and  the  iron  sulphate  is  added  and 
stirred  well.  The  liquid  is  cooled  with  a  little  cold  water, 
the  green  dyed  yarn  put  in  again  and  is  boiled,  stirring 
constantly  for  10  or  15  minutes. 

The  yarn  must  not  lie  in  this  liquid,  but  must  be  taken 
out  as  soon  as  boiled. 


47.     Gray  Green 

Yarn 250  gr. 

Olium  (blue  dye) 2  gr. 

Birch  leaves 1  kg. 

Common  madder 25  gr. 

Iron  sulphate  vitriol ....     4  gr. 


246 


FOOT-POWER  LOOM  WEAVING 


Boil  in  birch-leaf  1  hr.  and  then  take  out.  Cool  the 
liquid  and  add  the  25  gr.  soaked  madder.  Place  the  yarn 
in  the  cooled  liquid  and  let  it  boil  14  hr.,  take  it  out,  add 
the  iron  sulphate,  cool,  put  in  the  yarn,  and  boil  %  hr. 

Handle  as  above. 

48.  Pale  Blue  Green 

Yarn 250  gr. 

Alum  (mordant) 30  gr. 

The  mordanted  yarn  is  placed  in  the  cooled  after-dye, 
of  No.  50,  and  slowly  heated  to  the  boiling  point.  Boil  i/> 
to  1  hr. 

49.  Pale  Yellow  Green 

Yarn 250  gr. 

Alum  (mordant) 30  gr. 

Boil  in  the  same  manner  as  suggested  in  No.  40,  42 
and  43. 

50.  Olive  Green  with  Heather 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Fresh  heather  tops ..  1  to  2  kg. 

Chop  the  heather  and  soak  and  then  boil  4  hrs.  in  a 
polished  iron  kettle.  When  the  liquid  is  put  back,  the 
yarn  is  boiled  slowly  1  to  2  hrs.  according  to  the  darkness 
of  color  desired.  Let  it  lie  in  the  dye  till  cool,  but  it  must 
be  stirred  occasionally.  If  the  liquid  is  allowed  to  form  a 
crust,  this  will  spot  the  yarn. 


51.  Gray  Green  with  Baylerry 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Dried  barberry  leaves . .  500  gr. 

Iron  sulphate 10  to  20  gr. 

Soak  the  bayberry  leaves  and  boil  2  hrs.  The  mor- 
danted yarn  is  boiled  in  the  strained  liquid  for  1  hr.  and 
is  then  taken  out.  Add  the  iron  sulphate  and  when  this  is 
dissolved  add  a  little  cold  water.  Place  the  yellow  dyed 
yarn  in  the  cooled  liquid,  heat  slowly,  stirring  constantly 
and  let  it  boil  5  to  10  minutes.  Take  it  out  and  cool. 

52.  Myrtle  Green 

Yarn 250  gr. 

Potassium  chromate ....     4  gr. 

Cream  of  tartar 4  gr. 

Mulberry  wood 90  gr. 

Logwood  25  gr. 

The  potassium  chromate  and  the  cream  of  tartar  are 
dissolved  in  boiling  water,  and  enough  cold  water  added 
to  make  the  liquid  lukewarm.  Place  the  wet  yarn  in  this 
and  heat  slowly,  stir,  boil  one  hour  and  let  it  lie  in  this 
mordant  until  cold.  Rinse  in  clear  Avater  before  placing 
in  the  dye.  The  mulberry  and  logwood  are  put  to  soak  the 
day  previous.  They  are  put  in  a  bag  and  boiled  in  clear 
water  2  hrs.  Take  out  the  bag  and  boil  the  wet  mordanted 
yarn  in  this  dye  2  hrs.  If  there  is  room  in  the  kettle,  time 
may  be  saved  by  boiling  the  yarn  with  the  bag  the  last  hour. 


Mordant 


VIOLET  DYES 


247 


If  more  logwood  is  used,  the  color  will  be  darker — less  log- 
wood makes  it  lighter. 

.".:;.     Dark  Grass  Green 

Yarn 250  gr. 

Mulberry    80  gr. 

Alum   40  gr. 

Oliuin  10  gr. 

The  mulberry  wood  is  put  to  soak  the  day  before, 
boiled  1  hr.  and  strained.  In  the  strained  liquid,  dissolve 
the  alum  and  when  the  liquid  is  milk  warm,  add  the  Olium. 
It  is  all  well  stirred.  The  wet  mordanted  yarn  is  put  in 
and  stirred  constantly.  Heat  slowly  and  boil  1  hr.  The 
yarn  is  left  in  the  dye  until  cold. 

51.     Olive  Green 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 5  gr. 

Mulberry   62  gr. 

Tameric  Acid 40  gr. 

.Madder   ];{  gr. 

Iron  sulphate 3  gr. 

The  yarn  is  mordanted  and  dyed  blue,  just  as  is  done 
in  birch-leaf  dyeing.  The  mulberry  having  l>een  soaked, 
is  put  in  a  bag  and  boiled  in  clear  water  1  hr. 

Take  out  the  bag  and  add  the  tameric.  Boil  before 
putting  in  the  blue-dyed  yarn,  which  must  not  be  cooled 
too  much.  When  it  lias  boiled  1  hr.  in  the  yellowish  liquid. 
it  is  taken  out.  The  dve  is  cooled  with  cold  water  to  about 


40°  C,  and  the  soaked  madder  is  added.  Put  the  yarn  in 
again  and  slowly  heat  to  boiling.  Boil  i/>  hr. 

Dissolve  the  iron  sulphate  and  add  it  to  the  cooled 
liquid,  after  taking  out  the  yarn.  Stir  well.  Put  yarn  back 
and  lx)il  for  14  to  y2  hr.  Take  out  immediately  and  cool. 

With  moi-e  madder,  the  color  becomes  browner,  with 
less,  more  green.  More  iron  sulphate  makes  it  duller.  If 
the  madder  is  omitted,  the  color  becomes  a  pure  green. 

These  colors  are  not  durable.  In  time  they  become 
brown  or  grayish. 

Violet  Dyes 

Violet  dyes  are  compounded  of  blue  and  red.  As  a 
rule,  indigo,  cochineal  and  madder  are  used.  The  colors 
made  by  these  dye  stuffs  are  fast  when  they  are  not  too 
light  in  color. 

With  cochineal,  the  color  becomes  a  pure  violet,  with 
more  or  less  red  according  to  the  proportion  of  blue  and 
red  dye.  With  madder  and  cochineal,  the  color  is  more 
brownish  or  plum  color.  The  depth  of  the  color  is  much 
affected  by  the  quality  of  the  wool  according  as  it  is  coarse 
or  fine.  The  latter  becomes  the  darker. 

Light  violet  dyes  become  dull  and  not  satisfactory  in 
coarse  or  hard  cloth.  The  finer  dye  shades  require  soft 
wool. 

By  using  different  kinds  of  mordant,  violet  shades 
may  he  obtained  from  the  blue  dye  in  logwood. 

These  colors  are  not  as  pretty  or  fast  as  the  others 
above  mentioned. 


248 


FOOT-POWER  LOOM  WEAVING 


Violet  with  Cochineal  56'     Dark  Blue  Violct 

For  violet,  the  yarn  must  first  be  dyed  blue,  then  red.  Ya™ 25°  gr> 

The  yarn  is  done  in  the  same  manner  as  for  green.  Alum  (mordant) 50  gr« 

When  the  yarn  has  been  boiled  in  the  blue  dye,  it  is  dried  )Hu?  (blue  dye) 5  gr' 

without  rinsing.  Cochineal   25  gr. 

Cochineal  is  powdered  fine  and  put  to  soak  the  day 

before  doing  the  red  dyeing.    It  is  then  put  in  clear  water,  57.     Medium  Blue  Violet 

boiled  for  ten  minutes  and  well  skimmed.     Lay  the  dry  Yarn .250  "T 

blue-dyed  yarn  in  the  boiling  dye,  turn  it  around  quickly  Alum  (mordant)  .  . .. . . .  50  gr' 

so  that  it  gets  wet,  and  boil,  stirring  constantly  for  the  re-  Olium  (blue  dye) 3  gr. 

quired  time;  then  take  it  out  and  cool  before  washing.  Cochineal  15  gr. 

If  the  color  does  not  seem  to  be  red  enough,  the  yarn  Handle  as  above  but  boil  i/2  to  1  hr. 

may  be  left  in  the  dye  until  cold.    This  will  help  with  colors 

which  have  a  very  dark  blue  ground.    In  that  case,  add  a  58'     Blue  Violet 

little  more  soaked  cochineal  and  let  the  yarn  boil  longer.  Yam 25°  8r- 

If  the  color  is  redder  than  desired,  boil  the  varu  a  AJUm  (moi'dant)  • 40  gr. 

,  ,.       .     ,,  Olium   (blue  dye) 50  drops 

shorter  time  in  the  red  dye,  but  not  less  than  half  an  hour.  Cochineal  5  <T 

If  the  foundation  blue  color  is  too  light,  this  cannot  Handle  as  above ' 

be  remedied  after  the  yarn  has  been  in  the  cochineal  dye. 

Among  the  following  recipes  are  many  possibilities  by  59.     Light  Blue  Violet 

varying  the  relation  between  Olium  and  cochineal.  Yarn , 250  gr. 

(Alum   (mordant) 32  gr. 

55.     Dark  Black  Violet  When  the  yarn  has  been  mordanted,  boil  for  i/>  hr.  in 

Yarn 250  gr.  the  after  color  of  No.  56. 

Alum  (mordant) 50  gr. 

Olium  (blue  dye) 10  gr.  °°-     Dark  Red  Violet 

Cochineal 50  gr.  Jf™  •••••; 25°  &• 

Alum  ( mordant ) 50  gr. 

Mordant  the  yarn  as  usual  and  dye  blue.    When  dry,                                 Olium  (blue  dve)  4  gr. 

boil  1  hr.  in  cochineal  dye.  Cochineal    . .  . . 40  gr. 


VIOLET  DYES 


249 


The  yarn  is  mordanted  and  dyed  blue  as  the  former 
have  been  and  is  boiled  in  the  red  dye  i/>  to  1  hr.  accord- 
ing to  the  redness  required. 

l»l.     Indian  Red  Violet 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Olinm  (bine  dye) 2  gr. 

Cochineal    20  gr. 

Handle  as  above. 

Ill',     lirii/lit  Red  Violet 

Yarn ..250  gr. 

Alum  (mordant) 40  gr. 

Olinm  (bine  dye) 30  drops 

Cochineal    10  gr. 

Handle  as  above. 

G3.     Lit/lit  Red  Viol <  I 

Yarn 250  gr. 

Alum  (mordant) 32  gr. 

Handle  as  No.  .">!!  and  boil  in  the  red  after-dye  of  No. 
(ill  or  No.  61. 

Violet  with  Cochineal  or  Madder 

When  madder  is  to  be  used  with  cochineal  for  red  dye- 
ing of  violet,  both  ingredients  must  be  soaked  separately. 

Cochineal  is  boiled  as  usual  10  minutes,  and  the  liquid 
is  cooled  with  cold  water  and  the  madder  is  added. 

The  dry  blue  yarn  must  lirst  be  squee/.ed  in  warm  wa- 
ter so  that  it  is  wet  before  it  is  placed  in  the  milk-warm  red 


dye.    In  this  it  is 'heated  and  kept  near  the  boiling  point, 
80°  to  90°  C,  for  1  hr. 

If  the  color  is  wanted  more  brown,  let  the  yarn  boil  in 
the  red  dye. 

64.  Very  Dark  Brown  Violet 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Olium  (blue  dye) 8  gr. 

Cochineal   5  gr. 

Madder  25  gr. 

Mordant  the  yarn  as  usual,  and  dye  blue  as  in  the  case 
of  former  blue  violet  dyes. 

65.  Plum  Color 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Olium  (blue  dye) 3  gr. 

Cochineal   5  gr. 

Madder  20  gr. 

Handle  as  above  described. 

0(5.     Light  Brown  Violet 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 1  gr. 

Cochineal   2  gr. 

Madder   15  gr. 

Handle  as  before. 

In  all  these  red  after  dyes,  many  violet  shades  may  be 


250 


FOOT-POWER  LOOM  WEAVING 


dyed  according  as  the  liquid  is  dark  or  light,  more  or  less 
red  or  blue.  A  little  of  the  blue  dye  will  always  be  left  in 
the  red  dye. 

The  yarn  for  these  after-dyes  is  mordanted  as  usual 
and  is  boiled  in  the  cooled  red  liquid.  It  may  also  be  dyed 
light  blue  so  that  the  red  becomes  the  chief  color. 

67.  Blue  Violet  ivith  Ground  Pine 

Yarn 250  gr. 

Ground  pine 250  gr. 

Logwood 50  gr. 

Mordant  and  dye  as  No.  3G. 

68.  Blue  Violet  with  Chickivccd 

Yarn 250  gr. 

Chickweed  1  pail 

Logwood  30  gr. 

Alum  (mordant) 32  gr. 

Mordant  and  dye  as  No.  37. 

Brown  Dyes 

Brown  is  obtained  by  mixing  yellow,  red  and  black 
dyestuffs. 

Several  brown  dyestuffs  are  found  complete  in  certain 
barks  and  roots  and  in  a  number  of  lichens.  From  herbs 
and  leaves,  brown  is  seldom  obtained. 

To  bring  out  the  brown  colors,  a  copper  or  iron  suit 
must  often  be  added  to  the  yellow  or  red  dyestuff.  When 
these  salts,  such  as  iron  or  copper  vitriol,  are  adder!,  they 


must  be  well  dissolved  and  the  dye  must  be  cooled  before 
the  goods  is  put  back  in  the  liquid. 

In  all  dye  to  which  iron  or  copper  vitriol  is  added,  the 
goods  must  not  lie  still  after  it  is  through  boiling.  It  is 
best  to  take  it  out  immediately,  cool  quickly  and  rinse  in 
clean  water  until  it  is  washed. 

A  dark  scum  will  always  form  oh  the  dye  when  it  cools 
and  this  will  spot  the  goods.  The  same  effect  will  be  had 
also  if  the  dye-stuff  is  allowed  to  run  down  a  part  of  the 
goods  after  being  hung  up. 

69.  Yellow  Brown  with  Baybcrry  Leaves 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Bayberry  leaves  ( dried). 750  gr. 

The  yam  is  mordanted  and  dyed  as  for  yellow  (see  No. 
4)  and  is  taken  out  and  15  to  30  gr.  copper  sulphate  is 
added.  Boil  the  yarn  %  to  1  hr. 

If  a  very  dark  color  is  desired,  let  it  boil  again  in  the 
same  or  a  new  dye.  The  yarn  must  be  dried  between  each 
dyeing  just  as  in  the  heather  dyeing.  This  is  a  very  fast 
color. 

70.  bellow  Brown  with  Alder  Bark 

Yarn 250  gr. 

Alum  32  gr. 

Alder  bark  (dry) 5  kg. 

The  yarn  is  mordanted  and  dyed  like  the  yellow  with 
alder  bark  (see  No.  8).  But  it  is  boiled  in  the  liquid  1  to 


BROWN  DYES 


251 


2  lirs.  and  left  until  cold.  If  wanted  still  darker  it  may 
be  dried  and  boiled  again  in  new  aider  hark  dye.  This 
color  darkens  in  time. 

71.     Bronzt-  linnni  iritli  Buckthorn  Hurl; 

Yarn  .................  250  gr. 

Dry  bark  .............  500  gr. 


Alum 


Chop  the  bark  line,  soak  and  boil  3  hrs.  To  the  strained 
liquid,  add  the  alum  and  when  it  is  dissolved,  the  dry  un- 
mordanted  yarn  is  laid  in  the  boiling  dye.  Boil  in  this 
1  to  2  hrs.,  and  let  it  remain  until  cold. 

72.     Bronze  Broini  irifli   Walnut  Lcarcs 

Yarn  .................  250  gr. 

Alum  (mordant)  .......    40  gr. 

Fresh  walnut  leaves.  ...      1   kg. 

Boil  leaves  1  hr.  and  strain. 

The  mordanted  yarn  boils  in  the  dye  1  to  2  hrs.  and 
is  left  till  cold. 


73.     Olive  Broicn   iritli  Jinii/icr 

Yarn  .................  250  gr. 

Alum   ................   .">2  gr. 

Creani  of  tartar  .......    IS  gr. 

Copper  sulphate  .......    IS  gr. 

Ammonia  chloride  ......    l.'i  gr. 

Juniper  berries  .......  1  to  2  liter 

'  Copper  acetate  .........    l(t  gr. 


The  mordants  are  dissolved  in  boiling  water  and 
stirred.  Put  in  the  yarn  and  boil  one  hour  and  leave  until 
cold. 

The  dry,  ripe  berries  are  broken,  put  to  soak  and  boiled 
one  hour  in  clear  water.  Put  in  the  mordanted  yarn  and 
let  it  boil  with  the  berries  1  to  2  hrs.  and  then  take  out. 
Strain  the  liquid  and  add  the  copper  acetate.  Boil  the 
yarn  again  y±  to  y2  hr. 

74.  I/iyht  Red-Brown  with  Gray  Stone  Lichens 

Yarn 250  gr. 

Dry  lichens   1  kg. 

Crush  fine  the  lichens  and  soak  over  night,  and  then 
boil  in  a  copper  kettle  in  a  reasonable  amount  of  water. 
Boil  the  unmordanted  yarn  in  this  1/2  to  2  hrs.  As  this 
dye  becomes  very  thick,  the  yarn  must  be  stirred  constantly. 
The  hanks  must  be  hung  far  apart  and  be  well  shaken. 
This  color  becomes  clouded  easily  unless  this  is  done. 
A  fast  brown  color  is  the  result. 

75.  Dark  Reddish  Brown  with  Stone  Lichens 

Yarn 250  gr. 

Lichens 1  to  iy2  kg. 

Crush  line  the  stone  lichens  and  strew  well  between 
the  yarn  which  is  laid  in  layers  with  the  lichens  in  an  iron 
kettle.  The  yarn  must  be  well  covered  and  some  large 
pieces  of  lichens  placed  between  each  layer  of  yarn.  The 
yarn  must  be  wet  when  laid  down.  Pour  on  cold  water. 
Let  it  soak  a  few  hours  before  boiling.  Boil  slowly  and 
evenly  2  to  G  hrs. 


252 


FOOT-POWER  LOOM  WEAVING 


If  the  yarn  is  to  be  very  dark,  it  must  be  treated  again 
with  new  lichens  and  in  the  same  manner.  If  one  has 
some  used  madder  dye,  this  may  be  used  instead  of  water. 
Wool  may  be  dyed  in  the  same  manner.  This  is  more 
easily  dyed  but  the  yarn  is  apt  to  be  clouded  unless  one  is 
very  careful.  It  must  have  plenty  of  room. 

76.  Dark  Greenish  Brown  with  Tree  Lichens  or  Moss 

Yarn 250  gr. 

Lichens 1  to  l1/^  kg. 

This  color  is  handled  as  above. 

77.  Light  Brown  with  Iceland  Moss 

Yarn 250  gr. 

Moss  250  gr. 

Clean,  rinse  and  chop  the  moss  fine.  This  is  placed 
between  the  layers  of  yarn  in  a  kettle.  The  yarn  must  be 
well  covered  with  moss.  Pour  on  water  and  boil  1  to  2 
hrs.,  or  longer.  The  yarn  may  also  be  hung  on  sticks  and 
boiled  with  the  moss  like  the  light  yellow  brown  with  stone 
lichens. 

78.  Dark  Brown  with  Iceland  Moss 

Yarn 250  gr. 

Moss 500  to  750  gr. 

Cooking  salt 50  gr. 

The  moss  is  handled  as  above  and  laid  in  layers  with 
the  yarn  in  an  iron  kettle. 

Strew  the  salt  between,  and  pour  on  water  and  keep 
warm  and  boil  for  48  hrs.  It  may  stand  in  an  oven  or  on 
a  heating  stove. 


Handle  afterwards  like  the  other  lichen  colors.  If 
one  has  not  enough  lichens,  the  color  may  be  darkened  by 
adding  iron  sulphate  to  the  dye.  But  the  yarn  must  first 
be  taken  out.  This  brown  color  will  be  a  little  more  gray- 
ish if  lichens  only  are  used.  All  these  dyes  are  absolutely 
fast. 

79.  Sandal  Brown  (Gray  Brown) 

Yarn 250  gr. 

Santalic  acid 50  gr. 

Madder   50  gr. 

Mulberry   50  gr. 

Oak  gall   15  gr. 

Iron  sulphate 10  to  15  gr. 

Madder,  santalic  acid,  mulberry  and  oak  gall  are 
pounded  fine,  put  in  a  bag  and  boiled  %  hr.  The  yarn  is 
put  dry  into  the  liquid  and  boiled  with  the  bag  !/•>  hr.  and 
then  both  are  taken  out.  Add  the  iron  sulphate  and  cool, 
and  then  boil  the  yarn  5  to  10  minutes. 

If  wanted  darker,  use  more  iron  sulphate. 

80.  Dark  Bed-Brown  with  Madder 

Yarn 250  gr. 

Alum 45  gr. 

Cream  of  tartar 10  gr. 

Madder   125  gr. 

Oak  gall  12  gr. 

Iron  sulphate 10  gr. 

Mordant  the  yarn  as  usual  1  hr.  Put  the  soaked  mad- 
der in  clear  water.  When  the  liquid  is  milk  warm,  add  the 


Mordant 


GRAY  DYES 


253 


Avet  mordanted  yarn,  heat  and  boil,  keeping  in  even  mo- 
tion 14  hr.  and  then  take  out.  Add  the  crushed  oak  galls 
and  stir.  Boil  the  yarn  in  this  */2  hr.  Take  out,  add  iron 
sulphate,  cool  a  little  and  put  yarn  back.  Boil,  stirring 
evenly  for  14  wr- 

Gray  Dyes 

All  plants  that  contain  tannic  acid,  will  make  gray 
dyes. 

Many  kinds  of  bark  contain  much  tannic  acid  from 
Avhich.  by  adding  iron  salts,  gray  to  black  dyes  may  be  ob- 
tnined. 

Boil  the  plants  and  the  material  first  in  this  dye,  which 
will  give  it  a  yellow,  red  or  greenish  color.  Remove  the 
goods  and  add  the  iron  sulphate,  which  will  change  the 
color  to  gray.  This  gray  will  always  have  a  tone  of  the 
foundation  color  which  the  plant  alone  gives;  but  the  more 
iron  sulphate  that  is  added,  the  darker  and  more  gray  the 
color  will  become. 

It  is  necessary  always  to  maintain  accurate  propor- 
tions between  the  strength  of  the  dye  and  the  amount  of 
iron  sulphate.  In  a  weak  dye.  a  dark  gray  dye  cannot  be 
obtained,  however  much  iron  sulphate  is  added. 

SI.     Gray  Broicn  iritli  Alilo-  Hurl; 

Yarn 250  gr. 

Alum   i  inni-daiit  I 32  gr. 

Alder  bark 4  kg. 

•      Iron  sulphate 10  to  150  gr. 


Mordant  the  yarn  and  dye  yellow  with  alder  bark,  as 
in  No.  17.  When  it  has  boiled  one  hour  in  the  alder  bark, 
add  the  iron  sulphate  (see  No.  54)  and  boil  the  yarn  again 
14  to  i/2  hr. 

82.  Gray  Violet  with  Birch  Bark 

Yarn 250  gr. 

Dry  birchbark 600  gr. 

Iron  sulphate 10  to  20  gr. 

The  bark  is  put  to  soak  the  day  previous  and  is  boiled 
1  hr.  Strain  and  boil  the  unmordaiited  yarn  in  the  liquid 
1  hr.  Add  the  iron  sulphate  and  boil  the  yarn  14  hr. 

83.  Gray  Reddish  with  Mountain  Ash  Bark 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Dry  bark 2  kg. 

Iron  sulphate 30  to  50  gr. 

Boil  the  bark  1  to  2  hrs. — strain.  Boil  yarn  in  this  dye 
1  hr.  Add  iron  sulphate  and  treat  as  described  in  No.  54. 

84.  Blue  Gray  with  Kinnikinnic 

Yarn 250  gr. 

Kinnikinnic 1  to    2  kg. 

Iron  sulphate 5  to  20  gr. 

The  yarn  is  mordanted  and  dyed  as  for  yellow  (see  No. 
Kit.  When  boiled,  add  iron  sulphate  and  boil  yarn  14  to- 
1/2  hr. 


254 


FOOT-POWER  LOOM  WEAVING 


85.  Green  Gray  with  Lady's  Mantle 

Yarn 250  gr. 

Alum   260  gr.  "I 

Cream  of  tartar 16  gr.    >  Mordant 

Fresh  lady's  mantle .  1/2  to  1  kg.  J 

Iron  sulphate 5  to  30  gr. 

The  yarn  is  mordanted  as  usual. 
Boil  the  lady's  mantle  1  hr.  and  strain.     Boil  the 
mordanted  yarn  in  this  liquid  1  hr.     Remove  this.     Add 
the  iron  sulphate.     Boil  the  yarn  in  the  liquid  until  the 
color  is  dark  enough. 

86.  Green  Gray  loilh  Sorrel 

Yarn 250  gr. 

When  in  the  sorrel  dye,  yarn  has  been  dyed  black  (see 
No.  89)  ;  from  the  after-dye  one  can  get  a  gray  green  after 
color.  The  wet  unmordanted  yarn  is  boiled  1/2  to  1  hr.  or 
longer  in  this  liquid.  The  liquid  may  easily  stand  1  to  2 
days  in  an  iron  kettle. 

87.  Gray  with  Sumac 

Yarn 250  gr. 

Mulberry  wood 10  gr. 

Sumac  25  gr. 

Oak  gall 10  gr. 

Iron  sulphate 10  gr. 

The  mulberry  wood,  which  has  been  soaked,  is  boiled 
1/2  hr.,  and  then  the  sumac  and  oak  gall  are  added  and 
boiled.  The  yarn  is  placed  dry  in  the  boiling  dye,  and 


boiled  i/>  to  1  hr.    Iron  sulphate  as  usual  is  added  (see  No. 
54)  and  the  yarn  is  again  well  boiled. 

88.     Light  Gray 

Yarn 250  gr. 

Oak  gall 3  gr. 

Mulberry  wood iy2  gr. 

Madder  y2  gr. 

Iron  sulphate 3  gr. 

The  oak  gall,  mulberry  wood,  and  madder  is  boiled  y2 
hr.  The  dry,  unmordanted  yarn  is  put  in  the  boiling  dye 
and  boiled  y2  hr.  The  yarn  is  taken  out  and  the  iron 
sulphate  added.  The  yarn  is  again  put  back  and  boiled 
1/2  hr. 

By  taking  more  or  less  of  the  different  dyestuffs,  the 
color  will  have  a  yellowish,  reddish  or  violet  tone.  More 
iron  sulphate  darkens  it. 

Black  Dyes 

Black  dyes  can,  like  the  gray,  be  made  with  the  aid  of 
iron  salts  from  the  plants  containing  tannic  acid.  But  they 
can  also  be  obtained  from  the  blue  dye-stuff  in  logwood. 
This  latter  is  now  most  generally  used.  Although  the  dye- 
stuff  in  logwood  is  blue,  black  may  be  obtained  from  it  by 
vising  different  sorts  of  mordants.  In  order  that  the  black 
shall  not  be  too  bluish,  a  little  yellow  dye  should  be  added 
to  the  logwood. 

For  black  dyes,  an  iron  kettle  is  best.  Uutinned  cop- 
per may  be  used,  but  not  tinned  copper  kettles. 

Logwood  is  always  put  in  a  bag  to  be  boiled  and,  to 


BLACK  DYES— AFTER  DYES 


255 


save  time,  the  goods  may  be  boiled  at  the  same  time  as  the 
bag.     But  it  must  have  plenty  of  room  in  the  kettle. 

Goods  dyed  black  must  be  dried  immediately  after  dye- 
ing and  then  washed  well  in  strong  soap  water  and  rinsed 
in  clean  water  until  it  is  absolutely  clear.  When  the  black 
dyes  are  well  boiled  and  properly  handled,  they  do  not 
crock,  but  are  absolutely  fast. 

S'.t.      lilnrh-  ,,-illi  Korri'l 

Yarn 250  gr. 

Fresh  sorrel 1  to  1%  kg. 

Logwood   175  gr. 

Birch  ashes 250  gr. 

Boil  the  sorrel  1  to  2  hrs.  in  a  clean  scrubbed  iron  ket- 
tle.  Strain,  scour  the  kettle  before  putting  the  dye  back. 
In  this  the  wet  unmordanted  yarn  is  boiled  2  hrs.  and 
lies  in  the  liquid  until  cold.  The  yarn  should  be  a  dark 
gray  green.  Put  to  soak  the  logwood,  the  day  before  dye 
ing.  jind  boil  in  clem-  water  2  hrs.  and  take  the  bag  out. 

The  mordanted  yarn  which  has  been  squeezed  out  of 
the  sorrel  dye  and  rinsed  in  lukewarm  water  is  put  in  the 
logwood  liquid  and  boiled  2  hrs.  When  the  logwood  dye 
is  nearly  cold,  it  is  mixed  with  1  to  2  liter  of  lye  which  is 
made  by  pouring  boiling  water  on  the  birch  ashes,  stirred 
and  let  stand  till  cold  and  clear.  Let  the  yarn  lie  in  this 
lye  for  ll'  lire,  and  then  dry.  Wash  later. 

Further  Use  of  Used  Dye  Liquids 

When  yellow  or  red  dyes  have  been  made,  the  after 
liquid  will, always  contain  enough  dye  so  that  they  may  be 


used  again  to  dye  woolens  and  cotton  goods — goods  that 
do  not  require  a  decided  color.  These  after-dyes  are  more 
or  less  fast,  but  are  very  .pretty.  The  most  are  fast  as  re- 
gards washing  and  can  be  used  for  articles  that  are  not 
much  exposed  to  sunshine. 

The  goods  is  mordanted  and  is  handled  the  same  as 
previously  described.  If  one  is  dyeing  rags  and  such  com- 
mon things,  the  mordant,  if  it  be  alum  or  cream  of  tartar, 
may  be  put  in  the  after-dye  direct. 

Yellow  After-Dyes 

Different  yellow  after-dyes  may  be  mixed  together  and 
the  alum  added  at  once.  With  after-dye  of  heather,  cotton 
and  linen  may  both  be  dyed  yellow.  This  is  a  pretty  color 
for  the  warp  in  simple  rugs  and  carpets. 

In  the  after-dye  of  ground  pine,  wool  and  cotton  may 
be  dyed.  If  they  be  re-boiled  in  used  log-wood  dye,  a  good 
blue  gray  color  is  obtained  both  in  wool  and  cotton.  It 
may  be  used  for  warp  and  carpet  rags. 

Red  After-Dyes 

Madder  dye  may  be  used  to  the  last  drop.  Wool,  rags 
und  cotton  yarn  may  be  dyed  in  it.  It  must  boil  and  the 
goods  will  become  a  light  brownish  red.  Cotton  and  linen 
dye  very  light  and  fade  in  the  sun,  but  the  color  is  very 
pretty  and  may  l>e  used  for  warp  where  white  is  not  wanted. 
The  after-dye  may  also  be  used  as  the  foundation  color  for 
darker  red  and  brown  shades.  A  little  dye-stuff  may  be 
saved  for  this. 


256 


FOOT-POWER  LOOM  WEAVING 


Cochineal  dye  may  be  used  until  there  is  only  the  clear 
water  left.  The  light  red  almost  colorless  dye  makes  pretty 
light  tints  for  old  pure  wool,  white  dresses  and  blouses,  and 
a  large  amount  of  woolen  sweater  yarn  may  be  dyed  light 
red  in  such  liquid. 

If  salmon  color  is  desired,  a  tin  solution  is  added,  and 
the  clean  dry  goods  is  allowed  to  boil  in  the  liquid  14  to  % 
hr.  The  amount  of  tin  solution  is  regulated  by  the  weight 
of  the  goods.  For  250  gr.  goods  use  50  to  100  gr.  prepared 
clear  yellow  tin  solution. 

If  a  more  bluish  red  is  wanted,  mordant  the  goods  lirst 
in  alum  and  then  boil  without  the  tin. 

Madder  and  cochineal  dyes  may  be  mixed. 

Blue  After-Dyes 

Indigo  gives  no  after-dyes,  as  the  goods  always  draws 
all  the  color  into  itself.  'In  logwood  dye,  however,  light 
gray  blue  after-dye  is  found. 

Violet  After-Dyes 

The  same  is  true  of  these  dyes,  as  for  the  red  after- 
dyes,  where  madder  or  cochineal  has  been  used. 

Green  After-Dyes 

Green  after-dyes  are  not  worth  while  using.  They  only 
give  a  dirty,  undecided  color. 

Brown  gray  and  black  after-dyes  will  give  lighter 
shades.  The  gray  after-dyes  may  be  quite  dainty  and 

pretty. 

From  black  logwood  after-dyes,  gray  blue  is  obtained. 


Dyeing  of  Old  Goods 

If  one  wishes  to  dye  old,  faded  goods,  this  must  lir.st 
be  well  washed  and  then  boiled  *4  hr.  in  soda  water  (which 
must  not  be  strong  enough  to  injure  the  goods)  so  that  as 
much  of  the  original  dye  is  removed  as  possible.  Then 
rinse  it  well.  After  that  handle  as  the  white. 

When  old  goods  is  to  be  dyed,  a  darker  color  than  I  lie 
original  must  be  chosen.  For  success  a  great  deal  depends 
on  the  foundation  color,  as  the  new  must  be  dark  enough 
to  cover  the  old. 

Only  pale  yellow  or  pink  may  be  dyed  yellow. 
Pale  yellow,  pale  violet,  light  gray,  light  brown.  \vry 
pale  green  and  red  may  be  dyed  red. 

Pale  yellow,  pale  green,  violet,  blue  gray  and  light 
brown  may  be  dyed  blue.  With  ground  pine  and  duckweed 
dyes,  pretty  blues  may  be  obtained. 

Blue  and  red  may  be  dyed  violet. 

All  other  light  colors  may  be  dyed  brown. 

All  colors,  light  or  dark  may  be  dyed  black. 

It  must  be  understood  that  with  re-dyeing,  the  new 
color,  unless  it  is  very  light,  will  always  have  a  tone  of 
the  old  ground  color. 

Unless  one  knows  what  dyes  were  used  originally,  it 
is  best  to  dye  a  sample  especially  if  the  goods  be  of  value, 
as  the  result  may  prove  to  be  a  different  color  than  the  one 
planned  for.  The  old  color  is  dissolved,  so  to  say,  by  the 
new,  and  forms  an  entirely  new  compound. 


//A/','. I  <  'HIM I  tiOODS—MEA SI 7,'A'N 


Bleaching  of  Woolen  Goods 

No  matter  bow  well  woolen  goods  is  washed  and  the 
fats  removed,  it  will  never  he  perfectly  white.  If  one 
wishes  chalk  white  yarn  or  woolen  cloth,  it  must  be 
bleached.  A  peculiar  odor  will  be  noticed  from  these  goods 
if  boiling  water  lie  poured  over  them. 

In  the  bleaching  of  woolen  goods  sulphur  is  used.  This 
Meacliing  may  easily  be  done  at  home  by  using  sulphur  in 
a  tightly  closed  room  where  damp  woolen  goods  has  been 
linng. 

For  bleaching,  a  large  tight  box  or  barrel  with  cover 
may  lie  used.  On  one  side,  and  quite  near  the  floor,  cut  out 
a  piece  large  enough  to  admit  a  fairly  good  sized  iron 
kettle.  The  hole  ninst  he  provided  with  a  cover.  At  the 
top  of  the  barrel  or  box,  on  the  inside,  strips  of  wood  must 
In-  nailed  on  which  the  stick,  holding  the  yarn,  may  be 
rested.  Sometimes  the  wool  is  hung  from  a  large  spool  or 
•placed  loosely  in  a  net. 

After  the  yarn  has  been  thoroughly  washed  and  rinsed 
it  is  allowed  to  dry  enough  so  that  the  water  does  not  drop 
from  it.  It  must  be  evenly  wet,  without  dry  spots.  It  is 
hung  in  the  barrel  or  box.  and  the  top  is  well  covered. 

Glowing  charcoal  is  placed  in  the  iron  kettle  or  dish. 
A  handful  of  coarsely  powdered  sulphur  is  placed  on  the 
glowing  coals  and  the  opening  is  quickly  closed. 

There  must  be  a  large  enough  opening  near  the  bottom 
to  allow  draft  enough  to  burn  the  sulphur.  The  yarn  or 


other  goods  is  left  in  the  box  or  barrel  about  12  hrs.  If  it 
is  white  enough,  it  is  rinsed  in  cold  water  and  dried.  If 
not,  bleach  again.  Care  should  be  taken  not  to  hang  the 
goods  too  near  the  kettle. 

It  is  not  necessary  to  bleach  woolen  goods  to  be  dyed 
with  plants.  As  a  rule  it  is  not  done,  but  if  one  does  not 
object  to  the  work,  certain  light,  dainty  colors  become 
cleaner  when  bleached,  but  some  are  duller  and  not  as 
pretty  as  when  using  the  bleached  yarn. 

Hand  Measures 
25  gr.  soda — 1  handful. 
100  gr.  greensoap — 1  heaping  wood  spoon. 
25  gr.  madder — 1  heaping  tablespoon. 
20  gr.  mulberry — 1  heaping  tablespoon. 
15  gr.  logwood — 1  heaping  tablespoon. 
20  gr.  cochineal — 1  heaping  tablespoon. 
8  gr.  pulverized  alum — 1  heaping  teaspoon. 
s  »r.  coarsely  powdered  cream  of  tartar — 1  heaping 

tablespoon. 
12  gr.  coarsely    powdered    potassium    chromale -  — 1 

heaping  teaspoon. 

10  gr.  iron  sulphate — 1  heaping  teaspoon. 
10  gr.  coarsely  pounded  copper  sulphate — 1  heaping 

teaspoon. 
1    gr.  olium — .">  drops. 


INDEX 


Abbreviations:     (w.  d.).  working  drawing;    (111.),  illustration;    (pat.),  pattern;    (dr.),  draft. 


Adaptations,  of  borders,  in  pattern  weaving,  48; 
of  double  woven  pattern,  186;    (ill.),  187 
Analysis  of  woven  patterns,  101 

Beaming,  19 

Betsy  Ross  towel,  110;   (dr.),  110 

Big  Diamond  pattern,  55;    (dr.),  56;    (ill.),  57 

Bleaching  woolen  goods,  257 

Blocking  out  a  pattern  from  a  draft,  105 

Block  Work  pattern,  62;    (dr.),  and  (ill.).  62 

Blooming  Flower  pattern,  73;    (dr.),  and  (ill.), 

74 

Blue  dyes,  241;  after-dyes,  256 
Bobbin  winder,  35 
Bonaparte's  March  pattern,  71;   (dr.),  72;   (ill.), 

72 

Borders,  adaptations  in  pattern  weaving,  48 
Border  combinations,  52;    (ill.),  51 
Borders  in  pattern  weaving,  46 
Braddock's  Defeat  pattern,  87;   (dr.),  87 

Chariot  Wheel  adaptations,  65;   (ill.),  65,  66 

Chariot  Wheel  pattern,  64;   (dr.),  and  (ill.),  64 

Checked  paper,  48 

Cloth  beam,  32 

Cloth,  construction  of,  8 

Colonial  patterns,  55 

Color,  introducing  of,  40 

Counterpane,  65,  79,  81 

Counterpane  patterns,  203,  206,  209,  214;  (dr.), 
200,  201,  202,  203,  204,  206,  207,  208,  209, 
210,  212,  213;  (ill.),  200,  202,  205,  207, 
210,  213 

Cross  pattern,  89;    (dr.),  89 

Crosses,  securing  of,  in  warping,  11 

Curtains,  48;    (ill.),  49,  50,  53,  66,  80 

Curtain  weave,  Danish,  119 

Damask-double  weave,  164 

Danish  and  'Norwegian  weaving,  115 

Danish  draft  for  eight-heddle  double  weave,  186 


Dog  Tracks  pattern,  92;   (dr.),  92 

Doors  and  Windows  pattern,  83;    (dr.),  83 

Double  Bow  Knot  pattern,  91;   (dr.),  90 

Double  Chariot  Wheels,  84;    (dr.),  84 

Double    Snowball    adaptations,    60;     (dr.),    60; 

(ill.),  61 
Double  Snowball  pattern,  60;    (dr.),  59;    (ill.), 

60 

Double  weaving,  177 
Double   weaving,    counterpanes,    203,.  206,    209, 

214;    (dr.),  200,   201,   202,    203,   204,   206, 

207,   208,   209,   210,   212,   213;     (ill.),   200, 

202,  205,  207,  210,  213 
Double  weaving,  arrangement  for,  183 
Double  weaving,  Lover's  Chain,  198;   (dr.),  194, 

195;   (ill.),  195 
Double  weaving,  Lover's  Knot,  198;    (dr.),  196, 

197;    (ill.),  197 
Double   woven   pattern,   178;    (dr.)    and    (ill  ), 

179 

Draft,  Danish,  115 
Draft  for  double  woven  pattern  analysis,  186; 

(ill.),  188 
Draft,  Norwegian,  164;   Swedish,  122,  123,  124, 

125 

Draft,  reading  a  Swedish,  121 
Dyeing,  formulae  for,  234 
Dyeing  old  goods,  256 
Dye  liquids,  use  of,  255 
Dyes  and  Dyeing,  233 
Dyes,  yellow,  234;   red,  235;   blue,  241;    green, 

243;    violet,   247;    violet   with   cochineal, 

248;  brown,  250;  gray,  253;  black,  254 

Eight-harness  Damask  weave,  169;    (dr.),  167 
Eight-harness  Damask  diagonal  weave,  170 
Eight-harness    Damask    weave,,  Swedish    draft, 

166 

Eight-harness  loom,  130,  137;   (sketch),  132 
Eight-harness  Swedish  pattern,  129,  137 


Eight-heddle    patterns,    double    weaving,    184; 
(ill.),  183,  184 

Expressing  Danish  patterns,  115 

Fancy  Work  bag,  48;    (ill.),  49 

Federal  Knot  pattern,  76;   (dr.),  75;   (ill.),  7G 

Figure  Harness,  for  double  weaving,  194 

Fine  threads,  use  of,  52 

Five-and-six  harness  Danish  pattern,  119 

Fly  shuttle,  224;   (w.  d.),  232 

Foot  stool,  textile  and  wood,  215;   (w.  d.),  216; 

(ill.),  217 

Four-harness  Danish  pattern,  115 
Four-heddle  weaving,  principles  of,  101 
Four  Wheels,  91;    (dr.),  91 
Fox  Trail  pattern,  83;    (dr.),  83 

Goose  Eye  Danish  pattern,  118 

Governor's  Garden  pattern,  70;  (dr.),  69;   (ill.), 

69 

Green  dyes,  243;  after-dyes,  256 
Guess  Me  pattern,  93;   (dr.),  93 

Handbags,  99,  100;   (dr.),  99,  100 
Hand  measures,  257 
Harness,  31 

Heddle  frame,  24;    (w.  d.),  25 
Heddle  hook,  27;    (w.  d.),  28 
Heddle  horses,  31;    (w.  d.),  31 
Heddle  sticks,  25 
Heddles,  knotting  of,  24 
Heddles,  threading  of,  26 
Heddles,  wire,  24 
Honey  Comb  weave,  124 
Honey  Suckle,  99;    (dr.),  99 

Indiana  Frame  Rose,  86;   (dr.),  86 
Irish  Chain  pattern,  77;   (dr.),  78;   (ill.),  78 
Irregular  threading  in  Swedish  patterns,  123 
Irregular  treadling,  59 


859 


260 


INDEX— Continued 


King's  Flower  pattern,  88;   (dr.),  88 
Knitting  Bag,  48;    (ill.),  49 
Knotting  the  heddles,  24 

Lambs,  tie-up  for  pattern  weaving,  53;   (w.  d.), 

52 

Laying  in  sticks,  23 
Lease,  9 
Lease  rods,  24 

Leopard  Skin  pattern,  82;    (dr.),  82 
Lily  of  the  Valley,  97;    (dr.),  98;    (ill.),  98 
Linen  draft,  108 

Linen  towels,  108,  109,  110,  111,  112,  113,  114 
Linen  weaves,  108 
Loom,    Danish,    224;     (w.    d.),    225,    226,    227; 

sketch,  224 

Loom,  parts  for  pattern  making,  53;   (w.  d.),  52 
Loom,  parts  of,  9;    (ill.),  20 
Loom,  power,  7;   simple  hand,  9 
Loom,    Swedish,    224;     (w.    d.),    229,    230,    231; 

sketch,  228 

Loom,  threading  of,  27;  tying  of,  30 
Looms,  design  and  construction,  224 
Lover's  Chain  pattern,  198;  (dr.),  194,  195; 

(ill.),  195 
Lover's    Knot    pattern,    198;     (dr.),    196,    197; 

(ill.),  197 

Making  a  draft  from  a  woven  pattern,  101 

Martha  Washington  towel,  108;    (dr.),  108 

M's  and  O's  pattern,  114;    (dr.),  114 

Mollie  Pitcher  towel,  110;   (dr.),  Ill;   (ill.),  Ill 

Monk's  Belt  pattern,  41;    (dr.),  43 

Mordant,  234 

Mosaic  pattern,  201;    (dr.),  198,  199;    (ill.),  199 

Norwegian  patterns,   119,   166 

Old  Irish  Quilt  pattern,  89;    (dr.),  89 

Old  Quilt  pattern,  80;    (ill.),  81;    (dr.),  82 

Olium,  preparation  of,  240 

Orange  Peel  pattern,  67;    (dr.),  and  (ill.),  67 

Paddle,  construction  of  warping,  17;   (w.  d.),  17 
Paddle,  use  of,  17 
Parson's  Beauty,  87;    (dr.),  87 
Pattern,  alternate  analysis  of,  105;   analysis  of 
double  weaving,  208,  211 ;  analysis  of,  104 


Pattern  harness,  for  double  weaving,  190 

Pattern  repeat  in  weaving,  102 

Pattern  weaving  elements,  41 

Pattern  weaving  in  textiles,  48 

Patterns,  Colonial,  55 

Patterns,  Colonial,  97;    (dr.),  98;    (ill.),  98 

Patterns,  Colonial,  Big  Diamond,  55;    (dr.),  56; 
(ill).  57 

Block  Work,  62;    (dr.),  and  (ill.),  62 
Blooming  Flower,  73;   (dr.),  and  (ill.),  74 
Bonaparte's  March,  71;    (dr.),  72;    (ill.), 

72 

Braddock's  Defeat,   87;    (dr.),   87 
Chariot  Wheel,  64;   (dr.),  and  (ill.),  64 
Cross,  89;   (dr.),  89 
Dog  Tracks,  92;    (dr.),  92 
Doors  and  Windows,  83;    (dr.),  83 
Double  Bow  Knot,  91;    (dr.),  90 
Double  Chariot  Wheel,  84;    (dr.),  84 
Double  Snowball,  60;   (dr.),  59;   (ill.),  60 
Federal  Knot,  76;    (dr.),  75;    (ill.),  76 
Four  Wheels,  91;   (dr.),  91 
Fox  Trail,  83;   (dr.),  83 
Governor's  Garden,  70;    (dr.),  and   (ill.), 

69 

Guess  Me,  93;    (dr.),  93 
Honey  Suckle,  99;    (dr.),  99 
Indiana  Frame  Rose,  86;    (dr.),  86 
Irish  Chain,  77;    (dr.),  78;    (ill.),  78 
King's  Flower,  88;    (dr.),  88 
Leopard's  Skin,  82;    (dr.),  82 
Old  Irish  Quilt,  89;    (dr.),  89 
Old  Quilt,  80;   (ill.),  81;   (dr.),  82 
Orange  Peel,  67;    (dr.),  and   (ill.),  67 
Parson's  Beauty,  87;    (dr.),  87 
Pine  Cone  Bloom,  96;   (dr.),  98;   (ill.),  98 
Pine  Knot,  74;    (dr.),  and   (ill.),  75 
Platform,  93;    (dr.),  93 
Queen's  Delight,  88;   (dr.),  88 
Rings  and  Chains,  79;   (dr.),  78;  (ill.),  78 
Scarlet  Balls,  84;    (dr.),  84 
Sea  Star,  85;   (dr.),  85 
Snail's  Trail   and   Cat's  Paw,   72;    (dr.), 
73;    (ill.),  73 


Sun,    Moon    and    Stars,    96; 
(ill.),  97 


(dr.),    97; 


Virginian  Snowball,  92;    (dr.),  92 
Wheel   of  Fortune,  76;    (dr.),  77;    (ill.), 

77 

Whig  Rose,  94;    (dr.),  96;    (ill.),  95 
White  House,  85;   (dr.),  85 
Wind  Flower,  81;    (dr.),  94;    (ill.),  95 
Window  Sash,  86;    (dr.),  86 

Pillow  Tops,  63,  64,  65,  68,  70,  71 

Pine  Knot  pattern,  74;    (dr.),  75;    (ill.),  75 

Placing  a  Reed,  28 

Plaids,  weaving  of,  40 

Platform  pattern,  93;    (dr.),  93 

Preparing  a  long  warp,  9 

Queen's  Delight,  88;   (dr.),  88 

Raddle,  19;    (w.  d.),  21 

Rag  Rugs,  40 

Reading  a  draft,  55 

Red  dyes,  235;   after-dyes,  255 

Reed,  the,  28;  threading  of,  28,  44 

Reel,  16;  warping,  14;   (w.  d.),  13 

Reels,  37;    (ill.),  37,  39;    (w.  d.),  38 

Removing  warp  from  reel,  16 

Rings  and  Chains  pattern,  79;   (dr.),  78;    (ill.), 

78 

Rings  and  Chains  adaptations,  79;   (ill.),  79,  80 
Rose  Path  border,  50,  53;   (dr.),  50 
Rose  Path  Swedish  pattern,  125 
Rug  weaving,  173 
Rug,  wool,  172,  173;    (dr.),  173 

Scarlet.  Balls  pattern,  84;    (dr.),  84 

Screens,   textile  and   wood,   217,   219;    (w.   d.), 

220,  222;    (ill.),  221,  223 

Sea  Shell  pattern,  174;    (dr.),  174;    (ill.),  175 
Sea  Star  pattern,  85;    (dr.),  85 
Selecting   the   heddle   combinations   in   pattern 

weaving,  101 
Sewing  Basket,   textile   and   wood,   217;    (ill.), 

219 

Shed,  33 

Shuttle,  34;    (w.  d.),  35 
Shuttle  stick,  34;    (w.  d.),  34 
Six-harness  loom,  133;  parts  of,   (w.  d.),  130 
Six-harness  Swedish  pattern,  133 


INDEX— Concluded 


2til 


Snail's  Trail  and  Cat's  Paw  pattern,  72;    (dr.), 

73;   (ill.),  73 

Solomon's  Delight  pattern,  106;    (dr.),  106 
bpool  rack,  15;    (w.  d.),  14  • 

Stool,  foot,  215;   (w.  d.),  216;   (ill.),  217 
Sun,   Moon   and   Stars  pattern,   96;    (dr.),   97; 

(ill.),  97 
Swedish  weaving,  121 

Tabby  harness  for  double  weaving,  190 

Table  Mat,  cotton,  170;    (dr.),  171;    (ill.),  172 

Table  Runner,  61,  63 

Temple,  35;    (w.  d.),  36 

Ten-harness  Damask  weave,  164 

Textiles  and  wood,  215 

Three-harness  linen  weave,  113;    (dr.),  113 

Three-harness   Swedish   pattern,   127;    diagonal 

weave,  128 

Threading  for  Damask — double  weave,  165 
Threading  for  Big  Diamond  pattern,  56 
Threading  for  pattern   weaving,  42 
Threading  for  Rose  Path  border,  50;    (dr.),  50 
Threading  for  ten-harness  Damask  weave,  170; 

(w.  d.),  168 


Threading  of  loom,  27;  of  reel,  28,  44 

Tie-up  for  Irish  Chain,  79;   Rings  and  Chains, 

79 
Tie-up  of  Lambs  for  pattern  weaving,  53;    (w. 

d.),  52 

Tie-up  with  double  sets  of  lambs,  129 
Towel  weave,  117 
Turning  on,  19 

Two-harness  Danish  pattern,  117 
Two-harness  double  weaving,  190 
Tying  heddle  sticks  for  pattern  weaving,  44 
Tying  heddle  sticks  to  treadles,  32 
Tying  the  loom,  30 

Unit  analysis  in  pattern  weaving,  103 
Utensils  for  dyeing,  233 

Violet  dyes,  247;  after-dyes,  256 
Virginia  Beauty  pattern,  176;   (dr.),  176 
Virginian  Snowball,  92;   (dr.),  92 

Warp,   8;    distribution   of,   23;    removing   from 

board,  12;  from  reel,  16 
Warp  beam,  14 
Warp  spreader,  19;   (w.  d.),  21 


Warp  stand,  23 

Warp,  taking  off,  12 

Warping,  alternate,  15 

Warping  a  number  of  threads  at  once,  16 

Warping  board,  construction  of,  10;   (w.  d.),  13; 

use  of,  10 

Warping  reel,  14;    (w.  d.),  13 
Warping  threads,  keeping  account  of,  15 
Washing  wool  for  dyeing,  233 
Waste  Basket,  textiles  and  wood,  215;    (w.  d.), 

218;    (ill.),  217 

Weaving  a  border  in  pattern  weaving,  46 
Weaving  double  cloth,  178 
Weaving  plaids,  40;   (ill.),  42 
Weaving  a  pattern,  41 
Wheel  of  Fortune  pattern,  76;    (dr.),  77;   (ill.), 

77 

Whig  Rose  pattern,  94;    (dr.),  96;    (111.),  95 
White  House  pattern,  85;    (dr.),  85 
Wind  Flower  pattern,  81;    (dr.),  94;    (ill.),  95 
Window  Sash  pattern,  86;    (dr.),  86 
Wood  and  Textiles,  215 
Woof,  8 

Yellow  dyes,  234;   after-dyes,  255 


X 


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